Table 1Transition record

sound editortomusic arranger

A sound editor already meets 47% of what the music arranger role asks for. The move turns on 5 required skills not yet in the profile.

From sound editor

47%

Overlap1

To music arranger

6 Skills carried over

5 Required, not held

49 Difficulty2

adjacent 0–30

moderate 30–55

substantial 55–75

career change 75–100

this move, 49

This move: 49 of 100 · moderate

1 Share of the music arranger role’s weighted skill requirement already met by the sound editor 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.

Table 2

Table 2 · What you already bring

Of the 6 skills that carry over, these are the ones fewest other occupations ask for. A music arranger role needs them, and most people applying for one will not have them already. This is the part of a sound editor background worth leading with.

Skill the target role also needs Area

already held organise compositions communication, collaboration and creativity
already held rewrite musical scores communication, collaboration and creativity
already held transpose music communication, collaboration and creativity
already held musical theory arts and humanities
already held musical genres arts and humanities
already held musical instruments arts and humanities

All 6 carried skills, including the 6 the music arranger role treats as required.

Table 3

Table 3 · What you would need to learn

The 10 missing skills fall into 3 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.

Skill to acquire Tier

01 communication, collaboration and creativity 5 required, 2 supplementary

required, not held define creative components required
required, not held develop musical ideas required
required, not held orchestrate music required
required, not held read musical score required
required, not held write musical scores required

optional, not held play the piano optional
optional, not held work out orchestral sketches optional

02 management skills 2 supplementary

optional, not held develop methods for choreographic integration optional
optional, not held supervise music groups optional

03 arts and humanities 1 supplementary

optional, not held music literature optional

Table 4

Table 4 · Where to start

The 3 entries a music arranger role is least likely to hire without. The ordering is computed from the skill data, not from what pays.

Each entry opens a course search for that skill. Career Overlap earns nothing from these links.

Appendix

Appendix · The rest of the record

All 6 skills that carry over

Skill Type

already held musical genres knowledge
already held musical instruments knowledge
already held musical theory knowledge
already held organise compositions skill
already held rewrite musical scores skill
already held transpose music skill

5 supplementary skills, helpful but not required

Skill to acquire Tier

optional, not held develop methods for choreographic integration optional
optional, not held music literature optional
optional, not held play the piano optional
optional, not held supervise music groups optional
optional, not held work out orchestral sketches optional

27 held skills the music arranger role does not ask for

Skill Type

not needed by the target role analyse a script skill
not needed by the target role archive documentation related to work skill
not needed by the target role attend music recording sessions skill
not needed by the target role audio editing software knowledge
not needed by the target role collaborate with music librarians skill
not needed by the target role consult with production director skill
not needed by the target role coordinate music with scenes skill
not needed by the target role copyright legislation knowledge
not needed by the target role draft music cue breakdown skill
not needed by the target role draw up artistic production skill
not needed by the target role edit recorded sound skill
not needed by the target role engage composers skill
not needed by the target role familiarise with personal directing styles skill
not needed by the target role file-based workflow knowledge
not needed by the target role film music techniques knowledge
not needed by the target role film production process knowledge
not needed by the target role finish project within budget skill
not needed by the target role follow directions of the artistic director skill
not needed by the target role follow work schedule skill
not needed by the target role musical notation knowledge
not needed by the target role purchase music skill
not needed by the target role search databases skill
not needed by the target role structure soundtrack skill
not needed by the target role synchronise sound with images skill
not needed by the target role synchronise with mouth movements skill
not needed by the target role transcribe ideas into musical notation skill
not needed by the target role work with composers skill

1 gaps that are knowledge rather than practice

Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.

Skill to acquire Tier

optional, not held music literature optional

Index

Other moves recorded from sound editor

Full index of moves from sound editor

Note

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.