Black Dots on White Paper Part 1: Commissioning a Musical Composition for Your Ensemble

The past four decades have been very kind to me personally and professionally, and much of that is due to being asked to write music for ensembles of many levels of ability and expertise across the United States and beyond. The experience of researching information about the topics or locations that inspire the music, and the wonderful people I have met and conducted as a result of these commissions has enriched my life beyond measure. After completing 170+ commissions, I find I am often asked how one goes about securing a composer for the purpose of writing a piece, and how a composer might deal with the process itself. While I have found the way I handle these details to my liking, I really can’t speak to the specifics of how other composers might do it, very likely in a different way, but since I have been asked, I am happy to share my thoughts on this topic.

Commissioning a Piece

When making the decision to pay someone to write a musical work for your ensemble, the first consideration is “why?” The reasoning is typically to commemorate an important event, honor an individual of significance to the community, or to have a lasting musical memento for the ensemble that contributes to the repertoire, sometimes involving specific instrumentation requests. While there are certainly other reasons, these are the three I encounter most often.

Choosing a Composer

The process begins by choosing a composer, a decision that might be determined as a result of either a love for a specific composer’s music or the desire to support a new and upcoming composer, perhaps someone local. If attempting to commission a well-known composer, be aware that they may have several commissions already scheduled and may not be able to accommodate another commission for two, three or four years. Consequently, it is important to plan the commission as far in advance as you can. If the first composer contacted is not able to accept the commission, then it is wise to have other names to consider. What is NOT acceptable is to contact several composers at once and make the selection as if you are having an audition process. Just contact one at a time until you are able to secure a composer to accept the project.

Another consideration is what you want the composer to do beyond writing the piece. If you want the composer to visit the ensemble, conduct the performance, or provide a clinic for the students, be aware that not all composers can do these things or want to do them. This should all be a part of the research that goes into selecting the composer as well as the discussions prior to finalizing the contract.

Financing the Project

The cost of commissioning a piece of music can vary widely based on the type of piece requested, length, difficulty level and who you ask. I have seen consortiums commission a piece that costs a staggeringly high amount of money - $25,000 and up! That is far beyond anything I can imagine, but it happens. But it doesn’t need to cost that much, and I find a range of $1000 for young band pieces to $6000 for advanced and lengthier works is more typical in my world. For most high school bands, the cost of commissioning a piece is usually less than they spend on the production of their marching band show.

Once a verbal agreement is reached, the composer usually sends a contract outlining the details including the name of the organization commissioning the piece, the grade level or other specifics agreed to, instrumentation, the date the piece is to be delivered, and the cost of the piece which possibly includes a deposit and details about final payment and delivery of the music. Since the pieces I write usually find themselves going into publication, I also like to get the specific wording of how the ensemble would like to be listed, and if there is any dedication they wish to be included on the piece. More detailed information can go on a program note included inside the front cover of the score if needed, and I would want to have all of that included on the contract as well.

A couple of notes about this process based on personal experience. First, I learned to ask for a non-refundable deposit because I need to plan very carefully in order to schedule my commissions (usually 6-8 per year), and a cancellation can mean that another project was declined for a planned project that is now canceled. The non-refundable deposit is a bit of insurance against that happening. It is also important to make sure the contract indicates it is non-refundable. I learned this the hard way when a cancellation happened (the only one I ever experienced) and the band director wanted his deposit back. I told him why that was not an acceptable request, but he correctly informed me that the contract didn’t say it was NON-refundable. Lesson learned.

Secondly, I learned that not charging enough can be a problem as it seems if you don’t charge much, sometimes the band director and/or ensemble doesn’t think the project is that important. I used to charge $500 per commission as I didn’t see a reason to charge more because I figured publication royalties would provide the “real” income from the piece. But after showing up to conduct the premiere performances, it became clear to me that the ensembles were sometimes totally unprepared and didn’t take any of it that seriously. So, I increased the amount I charged, and it worked, either because the non-serious people didn’t want to pay for something they didn’t really consider important, or only more dedicated ensembles wanted to pursue the project based on the cost. For whatever reason, it worked!

Scheduling the Premiere Performance

Conductors will schedule the first performance of this new piece at their discretion. Of course, if it was commissioned specifically for an event, the date was probably determined long before the music was completed. There are two ways this date can be of importance to the composer. If the composer is conducting the premiere performance or just wishes to attend, the date needs to work with the composer’s schedule. The other reason I find it important is that in my contract, I indicate that the commissioning party gets the right of first performance. Since composers want their new music published, these new pieces often go to the publisher prior to the actual premiere since the publication process can take eight months or more, and that can become a problem if the premiere performance is delayed for some reason. I once had a commission that was to be performed on a specific date that would allow me to have the piece published immediately, but then the conductor decided to wait until the next year to premiere it. Again, lesson learned, and I now indicate in the contract that the commissioning party has the right of first performance as long as that takes place within six months of the agreed date of delivery on the contract.

The Final Result

The process of commissioning a piece of music can be very rewarding and a significant experience for everyone involved. For the composer it can provide a set of inspirations and ideas they might not otherwise have considered, thereby creating music that otherwise might never have been written. For the ensemble and their conductor it can be a thrill to know that they are the first to play a piece written specifically for them. This can be a huge inspiration for the students as they can come to know the composer and learn about the process of writing music. Additionally, the published composition can serve as a point of pride, especially when their piece is performed by other groups.

I am so very grateful to the conductors and ensembles who have commissioned me to write for them over these 40+ years. My office walls are filled with framed covers of many of these compositions which always fill me with joy as I remember the people and places involved in those projects. Since I have been invited on several occasions to write a second or third commission for a conductor or ensemble, I can only assume that they also found the process rewarding, so I definitely would encourage conductors to give it a try. Talk to composers at conventions or find their contact information on their websites, and find out their level of interest, availability and costs. This may all be far more doable than you think!