Commissioning music can be a wonderful collaborative experience for everyone involved. This page is intended as an introduction to the process.

Most commissions begin because of mutual respect; usually, the performer/organization and the composer are familiar with each other's work. But, despite this, composers who have not yet had the experience of working with performing artists who are truly committed to new music may not appreciate the time and creative effort that such artists devote to preparation for the premiere of a new piece. And many performers may not appreciate the hours, days, weeks and months that a composer often spends in the creation of a new composition, or the extent to which such projects can be, in the best cases, collaborative. But the more mutual understanding there is about such issues from the outset, the more likely the collaboration is to succeed, with all parties feeling well served and enhanced by the process. Professional performers rightly expect to be paid for their work, of course, though they may donate their services for a worthwhile cause, in some cases. And it's reasonable for composers to have a similar expectation: to be compensated for their work with something of real value. The value of the payment can take the form of money (which works very well), but other possibilities exist, as well, to comprise part, or even all, of the payment, e.g., exchanges of labor, facility use, professional development opportunities, etc. that can be offered inexpensively by the commissioning party, e.g., studio recordings, certain kinds of performances, composer residencies (funding from participating institution[s]), broadcasts, etc., etc. And so I offer the following suggestions about commissioning:

(For performers) Don't hesitate to ask a composer about the possibility of creating a new piece. The conversation itself is fun and is an opportunity for both parties to learn. And very often a commission that seems quite unlikely, or even impossible, at first, may become a reality through some chain of events that no one could have predicted at the outset.

(For composers) If you find yourself between projects and looking for motivation to explore a new direction, don't hesitate to ask any artist performers you are lucky enough to know if they might like a new piece for some special upcoming event -- a tour, a new CD, etc.

(For both) Take the commissioning process seriously. You are asking each other to commit much time and creative effort. Make an agreement that includes what each can expect from the other, and by when. Put this in writing. You can make changes as you go, if necessary, by mutual agreement, but it will be so helpful to have a map for your journey.

The following links may be a bit out of date, but can provide some additional context for designing a commission. In addition, don't neglect local organizations and funding sources; because they are local, you have an inherent advantage in developing a relationship with them.

The organization Meet the Composer has several very useful publications to help anyone interested in commissioning a new work. These are very instructive for any musician (including composers), and a wonderful first step in the process. Please take some time to visit these free on-line resources:

An Individual's Guide to Commissioning Music is full of creative ideas for structuring a commission, including the stories of eight different successful projects, and a rough guide to costs, as well as information about how "Meet the Composer" can help. This is a perfect place to start.

Commissioning Music is a classic publication which, thankfully, is updated and available in .pdf format (or in Microsoft Word format). It's especially useful for organizations, ensembles, boards of directors, advisory boards, etc., but contains background useful for anyone thinking about commissioning.

Finally, Music Alive offers additional ideas specifically relating to composer residencies.