Large Ensemble Commissions - Pricing Information

I strive to make all aspects of my pricing as transparent as possible. While I do offer payment plans, please get in touch using our contact form if your ensemble or ensemble is experiencing financial stress and we can work together to make a project within your budget! I’m often able to reduce commission prices in exchange for good recordings, multiple performances, or help connecting with other music directors you know. We’re all in this together!

For pricing on chamber ensemble commissions, please click here. For pricing on pre-collegiate ensembles of all sizes, please click here.

How much does it cost to commission a piece?

I want to commission a work, but I can’t afford to pay all at once.

This isn’t a problem at all! In general I ask for a percentage of the commission fee up front (usually 25%-50%) and the rest is either spread out through installments or paid upon delivery of the score. For example, if you’re commissioning a 3 or 4 movement work, payments would be made after you receive each movement. If you’re working on a tight budget, I can also offer monthly payment plans—just let me know that you need to put your commission on a payment plan and we can find something that works for you! I am also happy to provide information and brief project abstracts if you’re trying to fund the commission through a grant or other funding application.

What is included in these prices?

All pricing above is for DIGITAL DELIVERY only (PDFs). For physical parts, additional fees will be calculated on a per-project basis. Every commission includes:

-Custom cover art and front material containing program notes, performance notes, and composer bio

-Social media promotion for events on which our piece is programmed (Instagram, Facebook, other platforms as possible) if desired

-Exclusive performing rights for 1 year from delivery date

-Perpetual performance license (you never have to pay me additional fees for future performances - just send me a PDF of the program or let me know about the event so I can report the performance to my royalties company!)

-Perpetual microsynch rights so you can share a recording of this work and any rehearsal footage on non-monetized platforms (YouTube, Reels, a website, etc.)

-TWO guaranteed digital rehearsals (up to 60 minutes each) at no additional cost

-Reasonable adjustments, corrections, and re-writes even after writing period concludes

How long will it take?

The approximate durations of the writing period are as follows. The actual delivery day may change depending on when I can begin the writing period, but we can discuss when you need the music by!

String Orchestra & Large Mixed Ensembles

1-3 minute works: 5-7 days

3-5 minute works: 1-2 weeks

5-8 minute works: 2-3 weeks

8-12 minute works: 3-5 weeks

12-15 minute works: 4-6 weeks

15+ minute works: 6+ weeks

Wind Ensemble & Symphony Orchestra

1-3 minute works: 1-3 weeks

3-5 minute works: 2-4 weeks

5-8 minute works: 3-5 weeks

8-12 minute works: 4-6 weeks

12-15 minute works: 5-8 weeks

15+ minute works: 8+ weeks

How much do you charge for original text or text adaptations?

If you are planning to use a text in the public domain or have secured the rights for us to use the text in our piece, there will be no additional charge for text. For original text or an extensive adaptation (such as reducing a public domain story into a song cycle or aria), the charge can vary based on the amount of time it will take. Original text is usually an additional 25% of the commission fee (for example, a solo voice and piano work of 3-5 minutes is $500. To include original text, it would be an additional $125 for a total of $750). Text adaptation can vary depending on how extensive the alterations are. For instrumentalist works that use vocalizations or pieces with voice that do not include words (humming, vocalizations, syllabic utterances, etc.), there is also no additional charge. My native language is English, but I am also comfortable setting works in Spanish.

How much do you charge for tape or interactive electronics?

This can vary wildly depending on the type of electronics you are envisioning, but in general: tape (also known as fixed electronics) are less expensive than interactive electronics, shorter works with electronics tend to be less expensive than longer ones, and drones, soundscapes, and ambient backing tend to be less expensive than “ensemble”-like electronics. For this reason, electronics can range anywhere from an additional 10% to 50% of the commission fee. We can chat about what you’re thinking and find a solution that works within your budget!

I’ve never commissioned a piece before - how does this process work?

It can be a little intimidating to work with another person on a new piece for the first time. I LOVE working with first-time commissioners and would be thrilled to work with you on your first commissioning experience! Below is a brief overview of how I normally collaborate:

Step One: Reach out!

Send me a message on the contact portal and let me know that you’d like to work together! It’s usually helpful to know upfront your instrumentation, a general duration and/or budget you’ve got to work with, what type of event/concerts you’d like the piece for, and any other specifics on what you’d like the piece to include (text, electronics, instrument doublings, etc.).

Step Two: Let’s chat

Once I get your message, I’ll set up a time to chat via phone or video (or, if you’re feeling shy we can stick to email!). We’ll talk about the piece in more detail, including the general mood/tone you’d like, any special techniques or gestures you’d love to see incorporated, how best to tailor the piece to your ensemble, and how we’ll set up the deadlines and payments.

Step Three: Writing period

When I start working on the piece, I will always send an initial draft and/or sketches within the first few days so you can see what direction we’re heading and make sure we’re on the same page! For shorter works, you’ll usually get one more, nearly complete draft before the final version is delivered. For more substantial works, you’ll get drafts and/or full movements before the final score and parts are delivered. Throughout the process, I will encourage you to point out anything that seems wonky or unplayable, or let me know if we need to pivot to a different type of mood/tone. I consider all of my work collaborative and can’t wait to make this piece truly ours!

Step Four: Follow-up support

After the final delivery of the score, I will always be available to make adjustments or corrections—some things don’t come up until you’re already working on the piece months later, so don’t hesitate to reach out and ask for a change if something just isn’t working! I like to write blog posts about the pieces I’m working on, and (if you desire, of course) will include links to your social media or websites so people who read my blog can learn more about you as well! Whenever the piece is programmed, I’m happy to share events, posts, and other online materials on my own social media to better promote your event. All I ask is that I’m given a PDF or scan of any program our piece is performed on, so I can report the performance to ASCAP.