"Commission Guidelines"

by Kenton Bales
Professor of Theory & Composition, University of Nebraska-Omaha

Do you think that commissioning new music from a composer is a project out of your reach? Not true! It really doesn't matter if you are the conductor of beginning band, a local church choir, or the Boston Symphony Orchestra, commissioning a composer can be fun and rewarding for everybody.

Below are a few guidelines for you to consider in the process. They'll give you a general idea of one way to have a positive experience with your commissioning project.

Step One: Define what you want to commission.

Have a clear idea of what you want the result to be. Write down the instrumentation, length, and purpose of the music. Give the composer an idea of the difficulty you want. Most composers know how to write beginning, intermediate, advanced, and professional level music.

Step Two: Find the right composer for the job.

You'll be much happier if you find a composer who writes in the style you want and for the level of your performers. Some composers write in a variety of styles, and some focus on their own voice. Choose the right one for you.

Step Three: Contact the composer and begin discussions.

How much will it cost? That question is very difficult to answer simply, so I'll give some general comments. Just remember, regardless of your budget, you CAN afford to commission a composer.

Talk openly about the money and don't be embarrassed by how much you can or cannot pay. Set a limit in your budget and stick to it.
Emerging composers (those who do not have national or international reputations) will charge less than established composers. Under certain circumstances (or if they're good friends!) they may write the music gratis in return for multiple performances or for good exposure. Composers with national reputations may charge a lot. John Adams was paid $65,000.00 for the work he wrote for the opening of the new Disney Center in Los Angeles.
The Music Teachers National Association Composers Commissioning Project (the largest of its kind in the U.S.) provides a base commission fee of $1500 to composers regardless of length, complexity, style, or instrumentation of the work. I think this is a good starting point.
Even if you can't pay a base commission of around $1500, many composers will write for an "honorarium" of much less.

Plan ahead. If you need the piece next week, you'll have a lot less choice about the finished project. Many composers prefer 8 months to a year or more lead time.
It's not always necessary to have a written contract or agreement, but that can be helpful for both parties.
Make sure the composer is clear about the deadline and what is to be delivered. Do you want full score and parts? Score only? What format (paper color, binding type, digital format, etc.) do you want?

Step 4. Wait. Or Not.

Now that you've commissioned the composer, there will be some elapsed time before you see any results. The composer may not be able to start on the commission right away, so don't contact the composer until you know the work is started. Different composers prefer different levels of participation from the commissioner, so be sensitive to that. I personally like the performers to be involved in the creative process, but some composers like to simply present the completed work to the group.

Step 5. Practice, Premier and Perform

Make sure your deadline for receipt of the score gives you extra time to prepare and rehearse the piece. This is new music, so you'll need more time to rehearse and learn this than you'll need to learn that Mozart flute concerto. Composers need high quality performances and recordings of their works, and they'll do everything they can to help you. Offer to have the composer attend some rehearsals before the premier.

Make the premier a gala event. Perform the work several times and produce a high quality recording of it. You've paid good money for this piece, and you'll want to show it off. Send the composer programs of subsequent performances. ASCAP and BMI may pay the composer for these performances, and that can help defray costs if you were unable to provide a commission at the level you'd like.

The Bottom Line

Keep it simple. Enjoy the process. Get out there and commission!

The music of Kenton Bales has been commissioned and premiered by a wide variety of professional artists and ensembles. His music is influenced by themes from the Western Classical tradition and from Native American music and the music and spirit of the Great Plains and the Ozarks, where he grew up.

Bales has twice been named the Nebraska Composer of the year, and has won composition awards from the Music Teachers National Association, the Society of Composers, Incorporated, the American Composers Forum, and the Nebraska Arts Council. He is active in teaching composition, and has been named recipient of the Excellence in Teaching Award from the University of Nebraska at Omaha. He is co-chair of Region VI of the Society for Composers, Inc., and Composition Chair for the Music Teachers National Association Student Composition Competition. Bales is a Fellow of the Center for Great Plains Studies and a member of the Native American Studies Faculty of the University of Nebraska at Omaha, where he is Professor of Music.

Bales's music is diverse and his catalog encompasses works for orchestra, wind ensemble, chorus, chamber groups, and solo instruments. Many of the works were commissioned by various artists including members of the Omaha Symphony Orchestra, the Clarion Chorale, and others. His music has been performed by a wide variety of soloists and groups throughout the United States and Europe, and is published by Southern Music Company and by Alliance Music Publishers, Incorporated.

Return to Top

Submit an Article!

Topics for articles submitted to this site should be relevant to the study and performance of the flute. They can be of any length. Please include footnotes or a bibliography if necessary. When referencing other websites, please include the full URL.

To submit an article for consideration, fill out the contact form and attach your article to the form. Preferred file formats are Microsoft Word (doc) or plain text (txt).

You may also mail a hard copy to:

Tiffany Campbell
TFS Article Submission
4820 Hillside Street #1
Lincoln, NE 68506

Please include biographical information, or a link to your bio on the web.

If your article is published on The Flute Source, you will receive free ad space (179x500) on the page of your article indefinitely.