Commissioning
Interested in commissioning a new work for me, but don’t know where to start? Here are answers to some frequently asked questions that should help demystify the process:
What exactly does it mean to “commission” a piece of music?
Commissioning a piece of music means that you are paying a composer to create a brand new composition. In doing so, you are then able to define some of the parameters of the work, such as instrumentation, length, difficulty level, mood, etc. Within these parameters, the composer then creates a composition tailored to the interests and strengths of the commissioners and performers.
What are the benefits of commissioning a new piece?
Composing on commission is the main source of income for the vast majority of living professional composers, as it was for composers of previous eras such as Beethoven and Mozart. Many of the masterworks of the past were composed because patrons and ensembles commissioned composers to create them. Commissions are often created to celebrate or commemorate a particular event, an anniversary, a person, or some other special occasion, but this is certainly not a requirement. Many commissions come about because someone is simply a fan of a particular composer’s music and wants help bring more of their work to live. Performers often commission works to be able to have a custom-made composition that they can then have the prestige of giving the world premiere performance of.
In any case, commissioning a new work means that all future audiences and performers will know that YOU helped bring it to life, as every printed score will have a line that will say that you commissioned it!
How much does it cost to commission a piece of music?
This can vary quite a bit based on a number of different factors—such as the size of the instrumentation and estimated length of the piece—that affect how much time and work it would take me to create it. For example, a half-hour symphony for orchestra will cost much more than a 3-minute work for a solo instrument, but fees are always subject to negotiation as well. To get a general sense of recommended commission fees for various lengths and sizes of works, check out NewMusicUSA’s Commissioning Fees Calculator.
Standard practice is to pay 50% of the commission fee up front upon signing an agreement and the remaining 50% upon delivery of the score (and parts, if applicable), but this payment structure can also be adjusted if needed. However, the beginning of the process always starts with conversation about the kind of work you might be interested in, what your budget might be, and how it might fit with my current schedule of commissions, so please do not hesitate to contact me!
I don’t know if I can afford to commission the size work that I’d like to. Are there ways to make it more affordable for me?
Yes, there are several different ways to structure a commission beyond the traditional model of a single commissioner paying out of their own pocket. Ensembles and organizations often approach donors of theirs who they think might be interested in sponsoring the commission, they apply for grants from foundations to cover some or all of the cost, they run crowdfunding campaigns (via sites like Kickstarter or IndieGoGo), or offer something else of value instead of just money (such as a high-quality studio recording of the finished work).
Another common option is to form a commissioning consortium with others. It can be a bit more work for you to recruit consortium members, but then the cost of the commission fee is split between all members of the consortium. Instead of a single “world premiere,” each member gets to give a “consortium premiere” of the work along with receiving the other benefits of being a commissioner (credit in printed score, etc.) How many members a consortium should have depends on how low you want to have your own cost be (more members means each has to pay less) and how well you can recruit others (and of course I can help with recruiting as well!) These consortia are a “win-win” as the cost for you is lower and I receive more guaranteed performances of my work.
What kinds of groups/individuals normally commission you?
I’ve been commissioned by all kinds of performers and ensembles, from professionals to amateurs to students. I love writing for all kinds of instrumentations, including solo, chamber, vocal, orchestra, wind band, choir (both sacred and secular) and more! Even if I don’t have any music in my catalog for your exact instrumentation/voicing, please contact me—I’d love to discuss your ideas for a new project!
Past commissions include:
Requiem for Animals for SATB Choir and String Orchestra by the Brattleboro Music Center (with grants from the Eric Stokes Fund “Earth’s Best in Tune” and the Culture and Animals Foundation)
As Duas Flores (“The Two Flowers”) for Tenor and Piano by the National Association of Teachers of Singing and Cincinnati Song Initiative (with major support from Lori Laitman)
Theron’s Lullaby for Concert Band by the Lee High School Band (MA)
Three Sephardic Songs for Flute, Clarinet, Electric Guitar, Double Bass, and Piano by fivebyfive
Felling A Song Cycle for Baritone and Piano by Catalyst New Music and the Boston Singers’ Resource
Gliss for 3 Trombones, 3 Electric Guitars, and String Trio by OSSIA New Music
Mottainai for Voice and Piano by the Art Song Collaborative Project
An Appalachian Trail Symphony: New England (Symphony No. 1) for Orchestra by a consortium of 4 New England orchestras and Marjorie Coldwell
Sonata for Clarinet and Piano by the Colorado State Music Teachers Association
A Blessing of Discomfort for SSA Choir by the Algonquin Regional High School Camerata Singers (MA) (with funding from the Northborough Southborough Music Association)
Concertino for Piano and Wind Ensemble and No Interior do Rio de Janeiro for Wind Ensemble by the Northeastern State University Wind Ensemble
Uma Passacalha Brasileira for Wind Ensemble by the Arrowhead Union High School Wind Ensemble (WI)
Sound of Cowbell for Piano by pianist Christopher Janwong McKiggan
Rumination and Manifestation for Tenor Saxophone and Piano by saxophonist Allison Dromgold Adams
The Dove in the Ash Grove and Swansong both for cello and piano by cellist Christine Thomas Tsen
“Classical Concerto” for Piano and Chamber Orchestra by the Sounds of Stow
What do I get when I commission a new piece?
As the commissioner, you get:
A brand new musical work, tailored specifically to you, that you helped bring to life. This new piece of music is added to the repertoire, available to be performed by other musicians in perpetuity (after the period of exclusivity ends, see below) and you get the satisfaction and prestige of keeping music alive and helping it progress into the future. The score for your piece will always carry a commission designation listing you as having commissioned it.
The honor and prestige of premiering the new work. I know from personal experience as a performer that there’s nothing more exciting than preparing and performing a brand new piece of music that has never been done before. You’ll receive a score (and parts, if applicable) for your piece, as well as the rights to premiere it. This means that you have the sole privilege of presenting the first performance and listing it in your program as the “world premiere.”
Sole access to the music for a designated period of time. For example, you might have six months to perform the piece before it ever gets offered for sale to anyone else. We can also write a clause into the contract that allows you the rights to be the first individual/group to record the work for commercial distribution as well, if that’s important to you.
Can I commission a piece even if I’m not a musician?
Yes! Non-musicians sometimes commission works, although in that case if you’d like to hear it performed (and as the composer, I certainly would want to!) you’d need to be able to find performers who would be willing to perform it. For example, people have sometimes commissioned a new work as a gift to their spouse to be performed by hired musicians at their wedding, or patrons of an orchestra who know the music director approach them and say they’d like to commission a certain composer and have the orchestra premiere the work. These and more are all possibilities, so let’s chat if you are interested!
Can I commission you to do an arrangement?
Absolutely! I’ve created plenty of arrangements in the past, both of my own compositions and by other composers. As arranging or orchestrating is typically less work than composing a brand new composition, commission fees are generally lower as well. Not all works lend themselves to being arranged for a given instrumentation, however, but it is certainly possible in many cases. (Note: The music you’d like to have arranged must be in the public domain or you must obtain permission from the copyright holder. In the case of my own compositions, I hold the copyrights for them, so no need to ask a third-party.)
How long does it take before I’d get the sheet music? How far in advance should I be planning the premiere performance?
Because the amount of time I need to complete a work depends primarily on how busy my schedule is and on the scope of the work, I like to start initial conversations about the piece at least one year before you would need the music delivered. Larger and longer works are more work, and thus take longer to complete than shorter and smaller works (although, as with any creative discipline, things can go slower or faster depending on whether inspiration and ideas are flowing well or not!) I tend to compose quicker than some composers, but I also don’t like to be rushed as that could result in my not meeting the agreed upon deadline or not feeling like I’ve produced my best work. However, a shorter timeline is often possible, so just ask and I might be able to accommodate you. (I will say that to date I have NEVER missed a deadline to complete a composition, something that few other composers can say!)
After completing it, can you come visit a rehearsal and/or our premiere of the piece?
Yes! In addition to composing the work, I love to visit (virtually or in person) with individuals and groups to answer questions, provide insight into the work, and give feedback in rehearsals. Especially for students, this can make the experience of performing a brand new work even more special and educational.
Interacting with a living composer, learning about the inspiration behind the music, how it was written, and why they made the musical choices they made can be a very impactful and educational experience for the performers. (This can require an additional fee, though this can included in the commissioning contract upfront.)
What if I have other questions?
Please feel free to contact me to discuss your ideas or ask me any other questions.
Ready to commission a new composition?
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