Reshaping the Score: How Graphite Publishing Revolutionized Choral Music for the Digital Age

In the world of classical composition, the relationship between a creator and their publisher has historically been defined by a power imbalance. For decades, composers—particularly those writing complex, avant-garde, or non-traditional choral music—found themselves at the mercy of large publishing houses that prioritized commercial viability over artistic ambition. Two decades ago, a husband-and-wife duo decided to challenge that status quo.

Jocelyn Hagen and Timothy C. Takach, both esteemed full-time composers, founded Graphite Publishing in 2006. What began as a modest attempt to solve their own distribution challenges has blossomed into a major force in the music industry. As the platform celebrates its 20th anniversary, it stands as a testament to the power of a creator-first business model, having transformed from an insurgent digital underdog into a vital partner for the choral music community.

The Genesis of an Industry Disruptor

The story of Graphite Publishing is rooted in the fertile, collaborative soil of Minnesota’s choral scene. By the mid-2000s, Hagen and Takach were already established figures in the Twin Cities music ecosystem. Takach was a performing member of the renowned a cappella ensemble Cantus, while Hagen served as composer-in-residence for The Singers—Minnesota Choral Artists.

Despite their local success, they faced a recurring hurdle: their music didn’t fit the “traditional bell curve” of the publishing industry. Most legacy publishers were chasing the “low-hanging fruit”—three-to-four-minute pieces, written in English, designed for amateur choirs with standard piano accompaniment. In contrast, Hagen and Takach were writing challenging, complex works that frequently pushed the boundaries of vocal ensemble capabilities, incorporating foreign languages and unconventional instrumentation like solo cello or flute.

“We had all this music that didn’t fit the traditional bell curve of publishing,” Takach recalls. “It was harder stuff to market, but we valued this music and believed it should be available to other groups.”

The catalyst for their entrepreneurial pivot was a stark realization regarding intellectual property. After publishing a piece with a traditional house, Takach requested a minor arrangement change to suit a new ensemble. He was told that because the publisher owned the rights to the original, he was legally barred from altering his own work. Upon reviewing his contract, he found he had signed away his creative autonomy for a mere 10% royalty. That moment served as the clarion call for the birth of Graphite.

Chronology: Two Decades of Digital Evolution

• 2006: Graphite Publishing is founded in Minneapolis, pioneering the concept of digital-only distribution for sheet music.
• 2007–2010: The platform begins recruiting fellow Minnesota-based composers, including Abbie Betinis, Eric Barnum, and Joshua Shank, creating a collective of peers rather than a traditional corporate hierarchy.
• 2014: Graphite begins to diversify its catalog by acquiring the rights to distribute works from other independent publishers, expanding its reach beyond its original roster.
• 2020: In the wake of the global pandemic, the demand for digital-first music distribution accelerates. The company enters a period of explosive growth.
• 2025–2026: Graphite celebrates its 20th anniversary, marking a shift from industry outsider to an established, influential partner for organizations like VocalEssence and Border CrosSing.

Supporting Data: Scaling the Model

Graphite’s growth has been as strategic as it is organic. By eliminating the overhead costs of printing, warehousing, and physical shipping, the company was able to offer competitive royalty rates that far exceeded those of the traditional houses.

According to Managing Director Laura Krider, the company has maintained a compound annual growth rate (CAGR) of more than 50% since 2020. Today, the catalog supports 28 individual composers and acts as a central hub for various independent imprints. This growth has necessitated a transition from a “side hustle” managed by two composers to a robust, professional operation supported by a dedicated team of contractors.

The company has also had to adapt to the realities of institutional purchasing. While digital-first, they have integrated systems to accommodate the billing and invoicing requirements of universities, churches, and school districts, ensuring that their modern distribution model doesn’t clash with the rigid administrative requirements of traditional educational institutions.

Official Perspectives: The Philosophy of Ownership

The core ethos of Graphite is built on the belief that composers should own their work. Unlike traditional publishers, Graphite offers a unique “buyout” clause. If a composer ever feels dissatisfied with the arrangement, or simply wishes to regain full control of their catalog, they are contractually entitled to purchase their rights back from the company.

“At the beginning, the big publishers weren’t really all that scared of us or didn’t think much of us,” Hagen notes. “Now, I think we’re being seen more as a partner.”

The partnership model extends to the composers themselves. By creating a collective, Hagen and Takach saved their peers from the administrative nightmare of self-publishing while avoiding the predatory practices of corporate houses. “We thought there should be a company in the middle that didn’t take your copyright and most of your profit, but also saved us from having to act as independent publishers doing all the administrative work individually,” Hagen explains.

For Takach, the mission remains deeply personal. “It opened my eyes to how that business worked, and what would happen to my creative compositions if I continued down the traditional path.” By providing an alternative, they haven’t just preserved their own work; they have created a blueprint for how a new generation of composers can sustain their careers in a digital landscape.

Implications for the Future of Choral Music

As Graphite approaches its third decade, the implications of its success are felt across the choral industry. The company has proven that niche, high-level art music is not only sustainable but capable of thriving outside of major corporate gatekeepers.

The success of Graphite underscores the necessity of the "creator-first" model. By prioritizing the autonomy of the artist, they have fostered a community of creators who feel empowered to take risks, experiment with form, and write for the specific needs of modern ensembles.

Looking forward, the company is preparing for a significant presence at the National American Choral Directors Association (ACDA) conference in Minneapolis. This represents a symbolic homecoming and a moment of industry recognition. However, for Hagen and Takach, the primary focus remains the community.

“I’m really proud of our community of artists, and we do support each other,” Hagen says. The transition from a small, local initiative to an industry-wide platform has not dimmed their focus on the human element of music. Graphite is not just a store; it is a repository of contemporary choral culture, curated by the very people who define it.

As technology continues to reshape how music is accessed and performed, Graphite Publishing stands as a beacon for what is possible when artists refuse to be treated as commodities. By navigating the digital revolution with integrity and a deep-seated respect for the composer’s craft, Hagen and Takach have not only found their own groove—they have changed the rhythm of the entire industry.