Side-by-side comparison. Current production copy on the left, proposed changes on the right. Based on the diagnostic from 2026-05-25.
Goal: shift the page from hobbyist-tier to serious-hobbyist + pre-pro + pro tier, without breaking what already works.
Source diagnostic: Google Doc
REWRITE = full section rewrite • FIX = broken/missing content • TIGHTEN = one-line edit • ADD = new section • KEEP = no change
No proof strip exists. Visitor must scroll to paragraph 9 of the origin story to learn Saad teaches at Columbia.
Single horizontal strip placed directly below the hero CTA, above the Jude Duane quote:
Unchanged Already strong. "Years away from formal study" signals returning serious hobbyist. "Won an international call for scores" is a concrete pro-tier outcome. Position (immediately under hero CTA) is smart.
Unchanged "Years studying," "serious about your craft," "festivals/grad schools/calls-for-scores" all filter perfectly for the avatar.
[3 pillars: voice, process, performer connections]
It's not about being a "genius." That's a myth.
It's not about waiting for inspiration to strike, either.
And it's definitely not about stacking composition treatises on your shelf, hoping the next one finally shows you how to write compelling music.
The real problem? Most composers are focused on the wrong things...
[3 pillars: voice, process, performer connections]
The real problem? Most composers are focused on the wrong things...
Goes straight from the 3 pillars to "the real problem."
Step 3: Grow Your Visibility
Learn how to build authentic relationships, connect with performers, and get your music heard, without pitching cold or waiting for permission.
Step 3: Grow Your Visibility
Become the composer ensembles, festivals, and commissioners come looking for, instead of the one pitching cold and waiting for replies.
Built on 20+ years of composing experience and 10+ years teaching everyone from undergraduates at Columbia University to award-winning composers, this system gives you the tools, feedback, and support you need to finally compose music that opens doors.
Inside, you get access to:
[BUG: this is where the page goes blank. The textual content of the bulleted list is missing — the page jumps straight to Sasha Kryuchkov's testimonial. A serious composer reads "Inside, you get access to:" and the page gives them nothing.]
Built on 20+ years of composing — including commissions from the LA Phil, IRCAM, and the Princeton Symphony, performances by the JACK Quartet, Minnesota Orchestra, and Imani Winds, and over a decade teaching at Columbia University — this mentorship gives you the same tools, feedback, and connections that have placed students at Peabody, USC, NYU, Northwestern, and Vanderbilt with full scholarships.
Inside, you get access to:
This is a rare chance to have your music personally reviewed by a composer whose support has helped others land commissions, get into top festivals, and hear their work performed on major stages.
This is a rare chance to work directly with a composer whose mentees have landed commissions, conservatory scholarships, festival programming, and the kind of recognition that turns finished scores into a real career.
Problem: "not as a hobby" confuses the serious hobbyist tier — a retired engineer who composes seriously IS a hobbyist by income status but serious by commitment.
What is the investment?
The Composer's Brain is a 4-figure investment, with entry-tier and full 12-month program options. For context, composers at Juilliard pay $50,000+/year in tuition for this level of training...
Problem: $30K (top tier per project memory) is 5-figure, not 4-figure. Saying "4-figure" undersells the program and reads as sloppy or dishonest when a serious buyer asks for the price on a call.
What is the investment?
The Composer's Brain is a 4 to 5-figure investment across three tiers, depending on the level of support and access you need. For context, composers at Juilliard pay $50,000+/year in tuition for this level of training...
Can You Afford to Keep Writing Music That No One Ever Hears?
You've been trying to figure this out on your own, writing piece after piece, hoping something clicks.
But if you're still not getting performances, commissions, or the kind of recognition your work deserves… maybe it's not about working harder. Maybe it's about getting the right kind of support.
At this point, you've got two options...
Five Years From Now, Where Will Your Composing Career Be?
If you keep doing what you've been doing (writing in isolation, applying to calls that never reply, finishing pieces that sit on a hard drive), the answer is probably: roughly where it is now.
Or you can step into a system that's helped composers turn finished scores into Peabody scholarships, first commissions, festival residencies, and recordings.
The work is the same either way. The trajectory is what changes.
Image-based testimonial gallery at the bottom of the page (47 images). All visible text testimonials throughout the page are from pre-pros: London (Peabody), Theodore (first commission), Amelia (USC), Tinashe, Bradley, Sasha, Christina, Jude.
The gap: zero testimonials from the retired-professional serious-hobbyist tier. A 64-year-old engineer who composes seriously reads this page and thinks "I'm too old, this is for music school kids."
Plus: audit the image gallery for OCR-ability on mobile, tier mix (label which tier each screenshot is from), and concrete outcomes named (not just "thanks Saad!").