An Interview with Chris Fox

August 26, 2026| Alfred Music Official

Chris Fox is a Columbia, Maryland-based choral composer and music teacher whose singable, teachable writing has found a home in classrooms and on concert stages alike. Kodály-trained and largely self-taught as a composer, he has been publishing with Alfred Music since 2019 — with editor Andy Beck as a steady guiding hand — and writes, above all, for the students he teaches.

Q: How did you first discover your passion for composing?

I’ve always had a love for choral music. When I first graduated from college, there was a community tragedy, and I felt compelled to lend a voice to the grief. The pieces I wrote during that time were well received, and so I found a bit of a voice as a composer. Flash forward 20 years, and in a huge stroke of serendipity, a professor heard some of my writing and needed a commission. She asked me to write, then highly encouraged me to try to get a few of my things published. Those pieces were well received again, and so I began to write more.

Q: Who has shaped how you think about music?

I think the students I teach are muses for me. Giving them music that they connect with and that still teaches them how much music has to offer is important. Giving their teachers music they can accomplish curriculum goals with is another really important thing to me. I think that comes from my Kodály training.

Q: What was the first piece you wrote that made you think, “I might actually be onto something here”?

“Topsy Turvy World” and “Desperta Ferro” (both Alfred) were two pieces that people really loved. They are so different, but you can hear my voice in both.

Q: What’s the hardest creative problem you’ve ever had to solve in your work, and how did you get through it?

Being commissioned to write a piece in a language I didn’t speak was a challenge. I relied heavily on friends who spoke the language to make recordings, and I immersed myself in the language and style (French) for quite some time to get something unique. The result was Le Lion Amoureux (SBMP).

Q: How has your compositional voice changed over the years? Is there anything you used to believe about writing music that you’ve since changed your mind on?

I’m beginning to see that complex doesn’t always mean better. Allowing simple textures in important moments helps audiences really understand the meaning of the piece. I’ve also learned that expanding the palette in the accompaniment while keeping voice leading simple can lead to likeable, performable, teachable music for students.

Q: Do you have a favorite piece on Alfred.com? What was the spark behind it?

If we’re talking about my pieces, “Flicker” (new) is one I really loved to write. It’s very nostalgic and has a great message about chasing your dreams. If we’re talking about other composers, Andy’s “Carry the Light” has resonated so much with me and my students because of its simple message and beautiful melody.

Q: If there was a soundtrack for your own life right now, what piece would it be?

“Life is a Highway!” Jump on and take the ride wherever it might take you. It can be twisty and treacherous at times, but the JOURNEY is the reward. Accolades are great — but they can be fleeting.

Q: Where are you based, and how does your environment influence your work — or does it?

I’m a teacher in Columbia, MD. The geography doesn’t play as big a part in my composing as the vocation does. I really try to write for students.

Q: How do you spend most of your working hours: composing, teaching, performing, or some mix of all three?

Teaching is the majority of my time. Composing is a side gig that I just love to do when the time presents itself — typically in the summer.

Q: Where did you study, and how much of what you do today traces back to your formal training versus what you figured out on your own?

I was not formally trained in composition. I studied the songs I loved to teach and tried to emulate them when possible. Philip Silvey’s accompaniments were a huge inspiration for me. Andy Beck’s editorial acumen has been really pivotal — through him, I see with a publisher’s eyes what sells. I also rely heavily on my network of colleagues to give opinions during the writing process. If you’re going to be a successful composer, the ego needs to go. Single-lens views of your song will not bring the best result; opinions from respected colleagues will yield the greatest results.

Q: Did you grow up in a musical household, or did music find you some other way?

My father was a music teacher. My brother also became a music teacher. It’s definitely in the family genes.

Q: How long have you been publishing with Alfred, and how did that relationship start?

Since 2019. “Topsy Turvy World” was my first song, followed shortly after by “Desperta Ferro.” I sent a couple of scores to Alfred, and Andy was so incredibly kind and encouraging. He saw the good in the works and offered wonderful suggestions to propel them forward. Even with pieces that Alfred passes on, I get invaluable feedback that continues to shape my composing process.

Q: Outside of composing, is there another role in music — educator, clinician, performer — that’s been just as central to who you are?

Much of my composing work has come out of the chance to guest conduct. I LOVE shaping groups in short amounts of time, giving them a sound they may not get to experience in their home schools. The blessing of being asked to write things for these groups has resulted in some of my best work — “Desperta Ferro” was commissioned by PA ACDA Boyz Noyz and has been a big success.

Q: How has the music education publishing world changed since you started, and how has that shaped what you write?

It has grown, so it’s a harder job to have your voice heard. It really requires you to refine and hone the compositions into something relatable, singable, AND still unique.

Q: What’s a type of piece or repertoire gap you think the industry still hasn’t figured out yet?

I think we’re still working on how to fill the gap for music for unbalanced choirs. SSAB is one of those important areas because, especially in middle school and some high school, there are many more treble voices than bass voices.

Q: What do you want your body of work to add up to — is there a throughline you’re consciously building toward?

Not necessarily a throughline. I just want people to enjoy my music enough that they search my name to see if there are other gems their kids will enjoy. To me, it’s not a profession. It’s more a way to spread love and kindness throughout the musical world.

Q: Is there a favorite piece of yours that may not be your most popular work but resonates really strongly with you?

I think The Gallery is an underestimated piece. It takes a bit to ramp up because of the “Pictures at an Exhibition” style. However, the last movement — Michelangelo’s David — is worth the wait. Basses, especially, love that ending!