Photo credit: Tatiana Daubek

Collaboration is arguably the most valuable and important aspect of music-making. When we collaborate, we learn from one another, we pass our knowledge to others, and we interact to create a final product that we can be proud of. The process is just as worthwhile as the outcome itself.

As a composer, I relish the opportunity to work directly with musicians as they prepare my compositions for performance. As a professor, I love working with students of all ages to share my music, my knowledge, and my passion. In that spirit, I offer my services to the collaborative process. From a quick consultation to a full composer residency, I can be accessible for an exchange of ideas and expertise.

Quick Consultations

If you are performing my work, please reach out! I would love to be a part of your process. I am happy to email with you about any questions you may have regarding the score or parts, tempo, style & character, or background & context of the piece. Let’s make your performance the best it can be!

For a quick consultation, please access my “Contact” page by clicking here:

Rehearsals & Coachings

Quick consultations can be convenient, but sometimes they’re not enough. If you would like me to weigh in on your rehearsal process, we can make that happen in a number of different ways.

  • Option 1: Send me a recording of your best run-through, and I’ll write back with feedback.

  • Option 2: Zoom me in! We’ll connect remotely during a rehearsal so that you can receive real-time feedback.

  • Option 3: Bring me to your rehearsal. I will join you, in person, to provide feedback and interact with you directly.

Pricing varies, depending on the type and scope of the session. Please reach out and we can discuss!

Guest Lectures

A guest lecture can serve so many wonderful purposes.

  • In an educational setting, a guest lecture is a way for students to discover that every living composer has a unique story to tell. Playing a new piece is one thing, but hearing the composer talk about that piece can be an eye-opening experience that enables students to better understand the process of bringing a piece from conception to performance.

  • In a professional setting, a guest lecture enhances the performer’s understanding of, and connection to, a new piece. A professional gig becomes more meaningful when performers have the opportunity to hear directly from the composer, learn about the background of the work, and come to understand the composer’s perspective and intention.

  • In a performance setting, a guest lecture helps the audience to feel connected. New music can be intimidating! The more we communicate about new music, the more we can give listeners direction for their listening, thus enhancing their experience and making the performance more meaningful for everyone.

Pricing for a guest lecture can vary depending on the type of event, the amount of preparation it will require, and travel considerations. If you would like to invite me to present a guest lecture, please fill out the Inquiry Form below.

residencies

There’s value in having the composer in the room!

Residencies allow for extended conversations, camaraderie, and friendship to be established and nourished. Residencies can take a number of forms and be a variety of lengths. Usually, they involve workshops and lessons and may be paired with a performance. Each residency is different, but I will work with you to design a residency that works for your program.

To contact me about a possible residency, please click here:

Commission a new work

Every era has produced music that was contemporary at the time. As music lovers, it’s our responsibility to make sure that the music-making process keeps going, and that contemporary works continue to be created.

A commissioned work is one that is essentially ordered ahead of time, written for a particular occasion or purpose, and tailored to a specific performer or ensemble. Commissioning a new work involves considerations such as length and style of piece, instrumentation, duration, and choice of text (in the case of a vocal work). It also requires consideration of timeline and price. Below is some information to help guide you.

Timeline

It takes time to write a new piece, so it’s important to think ahead. Ideally, you should start the commissioning process one year prior to your performance. If your performance is sooner than that, talk to me and we’ll see what we can do.

Commissioning Fee

The commissioning process generally goes hand in hand with a fee, paid to the composer, for her time and expertise. Commissioning fees can be negotiated and depend on many factors, but this Commissioning Fees Calculator, developed by NewMusicUSA, might help to start the conversation. It is standard for the commissioning party to pay half the fee up front and the remainder upon receipt of the new composition. As with all commissions, alternate payment arrangements can be negotiated.

Scope

The scope of a new composition can be small or large. I have been commissioned to write short solo works and multi-movement pieces for large ensembles. The beauty of commissioning a new work is that it can be written to suit your needs.

Choosing a text

If you are interested in commissioning a new vocal work, we will need to consider the setting of a text. I am open to using words that you write or choose, or working with you to choose a text together. Keep in mind that texts must be used with permission or included in the public domain.

To inquire about commissioning a new work, click here:

Past Commissions

As a composer who has been commissioned many times to write new works for individuals and ensembles, I am prepared to provide guidance and communication throughout the entire commissioning process. Below is a list of individuals, ensembles, and organizations that have commissioned me:

  • Keene Elementary Bands: upcoming commission for new composition to be performed in April 2023 elementary band concerts

  • Zenith Ensemble: Rise Up, My Love; a cappella choral work, premiered at St. Bernard Church, Keene, NH, June 2022

  • Kinnara Ensemble: Southern Dissonance: Portraits of a New South; 25-minute work for vocal quartet and percussion, premiered in Huntsville, AL, January 2022

  • Christina Wright-Ivanova, piano: Snow Ghost for solo piano; written for her father’s 85th birthday, premiered at his birthday party in British Columbia, November 2019

  • Christopher Swist, percussion: Adventures of Harold for solo vibraphone; premiered at Keene State College, January 2018

  • Margot Rood, soprano: Finer Points for soprano and percussion; premiered on debut album, released April 2017

  • American Modern Ensemble: One Mountain for flute, clarinet, violin, cello, percussion, and piano; premiered at Keene State College, March 2016

  • East Winds and the Lehigh University Sesquicentennial Celebration: Six of One for woodwind quintet; premiered at Lehigh University, March 2016

  • Margot Rood, soprano: Living in Light for soprano and cello, poetry by Sara Teasdale; premiered on debut album, released April 2017

  • Arneis String Quartet: Contemplation and Pursuit for string quartet; premiered at Tsai Performance Center, Boston, MA, 2014

  • Chamber Singers of Keene: Songs of the Seasons choral work; premiered at Congregation Ahavas Achim, Keene, NH, 2014

  • World Projects and the New York International Choral Festival: I’ll See you in the Morning, choral work; premiered at Carnegie Hall, New York, NY, 2014

  • Anthology Vocal Quartet: A Woman Knows: 8 Songs on the Progress of Women for female vocal quartet; premiered at The Green Room, Boston, MA, 2013

  • Boston Composers Coalition: Dialogue for solo flute; premiered at SOLO Fest, First Church, Boston, MA, 2013

  • Ensemble 451: Mourning Dew for violin, flute, and harp; premiered at MIT, Boston, MA, 2013

  • KSC Chamber Singers: The Farmer choral work; premiered at Keene State College, 2012

  • The Rivers School’s Seminar on Contemporary Music for the Young: New Beginnings for solo piano, and A Warm Breeze in April for piano duet; both premiered at The Rivers School, 2012

  • Craig Sylvern, saxophone: Duet for Saxophone and Marimba ; premiered at Keene State College, 2012

  • Chamber Singers of Keene: Images of Autumn, premiered in Keene, NH, 2011

  • KSC Concert Band: The Vibrance of Ordinary People for concert band; premiered at Keene State College, Keene, NH, 2011

  • Juventas New Music Ensemble and Lorelei Ensemble: Winter Wind for soprano, alto, viola, and flute; premiered at First Church, Boston, MA, 2011

  • Ann Moss, soprano: Battlegrounds, five songs for soprano and string quartet; premiered at MIT, Boston, MA, 2009