Composer, Vocalist, and Producer, Sylvia Navarro, following her B.A., moved to Los Angeles in pursuit of her passion. She has now composed for hit shows like America’s Got Talent, MasterChef, and 1969 as a full-time composer of a leading composer-collective-company in the television industry, Bleeding Fingers Music.

Interview edited for brevity and clarity.

What inspired you to become a composer?

My mom and dad had music playing in the house all the time (from Santana, Yanni, Thalia, Vangelis, to Beethoven, you name it! These variety of genres gave me a taste for travel and a better understanding of the world.) My mother was also a singer before she had me and my siblings and her greatest joy was to sing to me, so it became a joy of mine too. I thought I would become a singer just like her when I grew up, but then I found a love for composing after they brought a piano home when I was 6 years old (it wasn’t for the kids, but for my parents to learn!). Funny enough, I took over that piano and started playing everything I heard on the radio by ear. Then I began to form my own melodies and share them my friends and family. For many years, they were my only audience and I was perfectly content with keeping it that way. I just loved it so much.

My grandparents were the ones that made me fall in love with film and the scores that came along with it, especially from the golden age, where film scores were very big and expressive). I also understood the world of video game music through my brother, Alejandro, who would share all the soundtracks with me and let me watch him play. In high school I finally started producing my music and again, kept them just for me. I never thought I’d take it any further.

I tried to convince myself many times in the past to quit because I was not very good at reading music and I was afraid of living with uncertainty and rejection. But living in a multigenerational household (3 siblings, 3 dogs, all my grandparents, and parents under one roof) helped shape my confidence and remind me that even if I failed, at least I had them in the end. All I ever wanted was to tell stories and I didn’t want to live with regret, so I went to LA to finally do it!

Can you tell us a little bit about your creative process when embarking in a new project or collaboration?

Depending on the project, I’m usually given either a few hours, to a day or two to get a composition done. Regardless of the timeline, I jump right in with my first idea. Sometimes I fiddle with my violin to get a good melody out, sing, or even just play a rhythm with my bells/mallets. I don’t want to be too obvious in my music, unless it’s requested, meaning if a scene is sad, I don’t want to write a sad piece. I want to watch the scene and figure out what’s going on deep down and what the true motivation is. Sometimes there’s more to the story. If I’m collaborating with another composer, we usually exchange sounds and have conversations about what we want the audience to get out of the music. Every composer has their own voice and it’s great [when you] can share that with someone else. 

What are the strategies that you used to pave your way into such a male dominated industry?

I was never intimidated by it and never thought twice about it. Growing up, I always played with the guys! I was the only girl on the varsity boys’ hockey team by the 8th grade and grew up with a brother in the military who taught me to have thick skin. His advice was to write the best music I could and to work my way up. True failure is when I give up!! I knew what I was capable of and what I could offer this business and I went with that attitude! I remember interning at Remote Control Productions asking as many questions as possible and formed good relationships with other composers who were happy to give me constructive criticism and help me grow. One thing led to another and I finally found position at Bleeding Fingers Music full time. I’m still learning and will always remain a student!! 

What are the most difficult challenges that most female composers will likely face and how can they prepare for them?

Just like anyone else in the business, it’s important to network, write the best possible music you can, and learn every single day. Being a female or male composer doesn’t change that. I was hired for my skill, not because they need a female composer and I am honestly so grateful for that.

Well I want to congratulate you on all of your success thus far, I see you have composed for hit show’s like America’s Got Talent, MasterChef, and 1969. Do you have a vision for what is next, any other categories of media you are targeting or aspiring to compose for?

I’m open to working on video games, to more scripted tv shows (science fiction, to historical nonfiction). Working on a war film or anything Pixar is the ultimate goal for me, but again, I feel like I’ve already achieved so much already and I need to let that sink in still!

What advice would you give a younger version of yourself before pursing this career?

I would advise [my] younger self to remain strong in faith and remember where your worth derives from (not from my career), but in Christ. That will keep you going when rejection hits or when you doubt your abilities.

Is there anything else you would like our readers to know?

[It’s] important to be a team player, build relationships with people, and to not get discouraged by rejection. Be strong and confident in your work!