From Digital Disruptors to Industry Partners: The 20-Year Evolution of Graphite Publishing

In the landscape of modern classical music, the intersection of creative artistry and business management is often a perilous one for composers. For married composers Jocelyn Hagen and Timothy C. Takach, the traditional publishing industry once felt like a barrier to innovation rather than a gateway to success. Two decades ago, they decided to circumvent that barrier. Today, their brainchild, Graphite Publishing, celebrates its 20th anniversary as a cornerstone of the choral music industry—a platform that successfully bridged the gap between independent digital distribution and professional-grade music publishing.

What began as a grassroots effort to reclaim creative agency has blossomed into a sophisticated, creator-first operation. By leveraging a digital-first model, Graphite has fundamentally altered how choral music is discovered, distributed, and owned, shifting the power dynamic from corporate houses back to the composers themselves.

The Genesis: A Response to Industry Constraints

The story of Graphite Publishing begins in 2006, a pivotal moment in the music industry when the digital revolution was just beginning to dismantle traditional gatekeeping models. At the time, both Hagen and Takach were active, working composers embedded within the vibrant Minnesota choral scene. Takach was singing with the acclaimed low-voice a cappella group Cantus, while Hagen served as the composer-in-residence for The Singers — Minnesota Choral Artists.

They were writing music for some of the highest-level ensembles in the country, yet they found their work rejected by traditional publishers. The reason was simple, if frustrating: their music did not conform to the "bell curve" of commercial viability.

"A lot of the music was challenging," Hagen recalls. "It was for professional groups, and a lot of publishers are only looking for more accessible things that choirs can do."

Traditional houses favored a rigid template: pieces three to four minutes in length, written in English, and supported by piano accompaniment. Hagen and Takach were composing longer, harmonically complex works, often featuring unconventional instrumentation like solo cello or flute, and frequently experimenting with foreign languages. The industry saw this music as "hard to market," but for the composers, these were essential artistic expressions.

The breaking point arrived when Takach discovered the predatory nature of standard publishing contracts. After a director requested a new, mixed-voice arrangement of one of his published works, Takach approached his publisher—only to be told he no longer owned the rights to his own creation. He had signed away his intellectual property in exchange for a meager 10% royalty. It was a wake-up call that crystallized their need for an alternative path.

Chronology: Two Decades of Growth

• 2006: Graphite Publishing is founded by Jocelyn Hagen and Timothy C. Takach as a digital-only platform to distribute their own compositions.
• 2007–2010: The platform expands, signing fellow Minnesota-based composers such as Abbie Betinis, Eric Barnum, and Joshua Shank.
• 2014: Graphite begins to diversify its catalog by acquiring the rights to distribute music from other independent, smaller publishers, creating a centralized hub for niche choral music.
• 2020: The company enters a phase of hyper-growth. Despite the global pandemic, the demand for digital sheet music surges, leading to a compound annual growth rate of over 50%.
• 2025–2026: Graphite marks its 20th anniversary, now representing 28 individual composers and serving as a major partner to ensembles like VocalEssence and Border CrosSing.

The "Creator-First" Philosophy and Supporting Data

Graphite’s success is built on a radical departure from the standard royalty model. While most traditional publishing houses maintain ownership of the copyright in perpetuity, Graphite introduced a unique, artist-friendly "buyout" clause. This allows composers to retain a level of agency that was previously unheard of in the industry.

"We have a clause that says if you’re unhappy or want your copyright back, there’s a way to buy it back from us," Takach explains. "That is unique and not found in traditional publishing contracts."

This philosophy has attracted a high-caliber roster of talent. Today, the platform hosts works by renowned artists such as B.E. Boykin and Dessa, alongside established ensembles like Cantus. The data behind this growth is staggering: according to Managing Director Laura Krider, the company has maintained a compound annual growth rate (CAGR) of more than 50% since 2020. This growth is not merely a result of digital accessibility but of strategic partnerships with institutions that require the administrative backing of a formal publisher.

Official Responses: Navigating the Hybrid Landscape

While Graphite was born in the digital realm, its leadership has remained agile, recognizing that the music industry still operates within traditional frameworks. Schools, universities, and churches often require institutional billing and physical, printed scores to satisfy accounting departments.

"We’ve had to pivot along the way to accommodate that because those traditional systems are still solidly in place," Takach notes.

The couple admits that the journey has not been without growing pains. What started as a side project to manage their own catalogs has evolved into a significant operation that requires a dedicated team of contractors. Despite the scale, the core values of the company remain rooted in the community-focused ethos of the Minnesota choral tradition.

"I don’t know if we could have built our careers the way we have if we hadn’t been in Minnesota," Hagen says. "Because of that, our company has a collaborative, ‘we’re in it together’ feel. There are so many wonderful composers here who are friends of ours. We just banded together."

Implications: The Future of Music Distribution

Graphite Publishing’s 20-year journey suggests a broader shift in the classical music industry. By proving that a composer-led, digital-first business can thrive, Hagen and Takach have effectively challenged the hegemony of the large, corporate publishing houses.

The implications for future generations of composers are significant. No longer are they forced to choose between creative freedom and professional distribution. Graphite has demonstrated that by leveraging technology to lower overhead costs, publishers can offer better royalty rates and more favorable contract terms while still providing the essential services of marketing, distribution, and licensing.

Looking ahead, the company is preparing for a major presence at the National American Choral Directors Association (ACDA) Conference in Minneapolis next March. This is not just a milestone for a company; it is a signal that the "disruptors" of 2006 have become the established partners of 2026.

As they look back on two decades, the focus remains on the people behind the notes. "I’m really proud of our community of artists," Hagen says, "and we do support each other."

In an industry often characterized by competition, Graphite Publishing stands as a testament to the power of community-driven enterprise. By prioritizing the composer, Hagen and Takach have not only built a successful business—they have created a sustainable ecosystem that ensures the music of today remains accessible for the performers of tomorrow. As they enter their third decade, their "side hustle" has firmly cemented itself as a vital pillar of the global choral community, proving that when artists control their own work, the music—and the business—finds its true groove.