Seeing the Music

Marc Allan

from Spring 2016

Nathan Blume ’03 came to Butler from Fort Wayne, Indiana, with a plan to double-major in Chemistry (on a pre-med track) and Trumpet Performance. A year later, thanks to the guidance of Professor of Music Michael Schelle, he went “all in” on music. 

“Once I did it,” Blume said, “even the act of changing my major, I felt like that was exactly what I wanted to do. It took Schelle to get me to do that. Throughout my time there, he really became a mentor and instilled in me—not just through personal advice but in his teaching—a confidence about myself and my abilities. I always knew that I wanted to come out to L.A. and try film music. I don’t think I’d be out here without Dr. Schelle’s advice and help.” 

Schelle’s confidence proved spot-on—Blume’s resume now includes composing music for The CW Network’s Arrow and The Flash, CNN’s The Seventies, NBC’s Blindspot, and the popular web series Vixen

But before Blume got to Hollywood, there were detours—a master’s degree from Carnegie Mellon University to build up his composition chops, followed by a couple of years with the Indianapolis Chamber Orchestra while he and his future wife, Megan McGarry ’05, figured out their next steps. They married in 2006 and moved to California in 2007 so he could attend the University of Southern California’s (USC) Thornton Scoring for Motion Pictures and Television program. That one-year intensive curriculum, taught by working professionals, is “the front door into the film music industry,” Blume said. “That’s where you meet a lot of people and you start networking.” (In the meantime, McGarry founded and now serves as principal of a charter middle school in San Fernando.) 

After USC, Blume found work consistently, first on short films, then on the TV series Eastwick, where he began collaborating with well-established composer Blake Neely. Blume credits his education for teaching him not only how to compose music but how to work fast (composers typically only get a week to write 35 minutes of music for a 42-minute show) and appreciate the way his work fits with everyone else’s. 

“You want something that sets the tone for the piece,” he said. “You’re working as a collaborator. It’s not about you and your musical abilities. It’s about your ability to work with the project and accomplish the end goal that everyone’s trying to accomplish.”