There are plenty of reasons to commission a new piece of music. Let's look at the obvious ones first:

You become the hero who is responsible for a sonic contribution to society.

Your highest cultural values (and yes, even your ego), are satisfied, as you invest in the future of music and in the artistic legacy of your own era.

Your name will live on a score and recording that will be seen around the world. People will think you're cool. You will sprout toned muscles, win every poker hand, and stop snoring. All because you commissioned a new piece of music.

It happens all the time.

But none of the above is the real reason you should engage me to compose a new piece.

The REAL reason is.... (are you ready? This is the stuff no one talks about)

The reason to commission me is...

...because creating art is incredibly rewarding for everyone involved: the commissioner, the composer, the musicians, and the audiences around the world!

Life is too short not to have as good a time as possible, and that includes enjoying the process involved in the creation of ART.

Of course I'm going to tell you how much you'll like your new piece. But I'll also tell you that:

• You won't lose sleep over whether you'll receive your piece on time, because I enjoy staying in touch as the music takes shape.

• I write music that is playable no matter how wild and challenging the piece. It won't maim musicians, nor cause them to regret not paying better attention in 10th grade calculus class.

• I deliver professionally bound scores and parts with humanly possible page turns wherever possible, and include a very listenable demo MP3 of the music to speed up rehearsal time.

• I'm collaborative by nature. I do not bark, bite, or scream. Usually.

• I'm quite helpful with the necessary PR, and often assist ensembles with broadcasts and additional performance venues. I view the process of launching a new work as a team effort. Much like professional football, except that [most of the time] we don't need protective helmets.

• The most important thing to get from any composer is their heart and their original voice. And that's the reason a composer like me spends so much time writing music and exploring new ideas within the art form.

How does commissioning work?

If you've heard a radio broadcast or attended a concert during which you enjoyed my work, or if you've visited the WORKS page on this site, listened, and would like to become a vital part of this artistic process, email me to discuss what kind of piece you would like to commission, what the timeline would be, and the costs of bringing such a project to life.

Whether you're interested in an original piece of music for a private occasion, or for a public concert, recording, or media project, the process is an enjoyable one.

It is common to schedule the creation of a new work two or more years ahead.

Budgets can be creative and flexible, and are often determined by the nature of the funding source, as well as the instrumentation, duration, and general scope of the desired project. Payments are traditionally made in two parts: first upon the contract agreement, and later upon the delivery of the score and performance materials. Alternatively, payments can be made over a longer, predetermined time period. I believe in placing the commissioning process within easy reach of anyone interested; the rewards of such collaboration ring out long after the last note is played.

It's also possible to bring together a consortium of several musicians, ensembles or patrons to jointly co-commission a work. Each enjoys a dedicated premiere concert and published credit for sponsoring the new piece, while easing the finances of the venture. Also included with the commission is a Zoom session with me and the musicians, adding dimension and meaning to the collaboration. Consortium commissioning gives a new piece immediate, broad exposure through the performances of many ensembles playing for a wide range of audiences.

Yet another way to commission a new piece within a limited budget is to discuss the possibility of adapting of an existing work in my catalog for your instrument(s). My rule of thumb for adaptations is simple: as long as I know that the new version will sound to listeners as though it was actually the original, I know that it will work wonderfully. It's a win-win: the commisssioner gets a new piece, and my older piece gets a new life!

Costs vary, and an good resource for getting a sense of the range can be found in a booklet titled, Commissioning Music: A Basic Guide, which you can download from New Music USA, which offers a helpful guideline here.

Additionally, composer/conductor Dominick DiOrio has written an excellent primer titled, A (Somewhat) Brief Guide To Commissioning New Music, the .pdf of which can be downloaded by clicking here.

If desired, my team can also personally assist with securing a fiscal agent for tax purposes.

Want to hear a frank and excellent discussion about the commissioning process? Enjoy THIS video of composer Ivette Herryman Rodriguez and soprano Lindsay Kesselman talking shop at the 2024 Chamber Music America conference!

And for a few more spot-on perspectives, visit THIS PAGE for additional conversations on the topic.

When a commission comes from a musician or ensemble, collaboration is a very important part of any project. I usually include webhearsals into the package, to enjoy the process of connecting with the people bringing the new piece to life.

I often begin by asking what the musician's or ensemble's needs are: what would contrast well with other pieces on their program? What mood would they like to explore– slow and pensive, a virtuosic program closer, something unexpected and possibly bizarre, or something else entirely? What are the strengths of the players? Who's the anticipated audience? In general, commissioners leave these broad decisions up to the composer, but sometimes pieces are created for specific purposes and occasions. It's entirely possible for an artist to express their unique vision while honoring the spirit of a request. 

I always check with ensemble leaders before including less common instruments, or deciding that their piece should run a little longer than contracted. I don't think surprises are helpful, and I definitely believe that a composer can take the needs of musicians and listeners into account without ever losing her own musical voice.  Respect for this vital triangular relationship is key.

What am I like to work with?

Knowing a bit about a composer as a person often adds to the perception of her music. If you're interested in reading some of my musings about music, nature and the humor of life in general, click here

And for even more context about where my music comes from, I invite you to spend a little time perusing my often grin-inspiring and occasionally pun-infused, archived blog, Notes from the Kelp, here

Most of all, you can get an excellent idea about my music and what inspires it by clicking the photo above. Got 36 minutes? Get comfortable, settle in with a beverage, and watch my most personal video to date, thanks to an invitation from Composers Now to join its IMPACT series.

Filled with nature and wildlife, puns and pith, and a remarkably broad selection of my music from solo piano to huge electroacoustic ensembles, this multimedia essay premiered August 2, 2022.

I love to compose: music is the portal through which I can share any part of myself, at any time--and maybe show you a little bit of yourself as well in the process!

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