how much does it cost to commission a piece?
It depends! Smaller projects (when not on a tight deadline) tend to cost less than bigger projects. These days, it’s uncommon for me to work for less than $400, just to keep my hourly rate from going through the floor. However, I’m always happy to explore consortiums, grants, and other means of securing funding (and if you have a friend/colleague/rival who wants to co-commission with you for joint exclusivity, that can be a great option). I’m always happy to talk about a project, even if you don’t have what you think will be enough funding—especially if you’re a student or someone else with a super limited budget. Though I still do the occasional project for free, it’s rare (and always an offer I make personally).
In 2022, I’m testing a commission discount for Tier 3 and Tier 4 Patrons. If you’re interested, hop on over to my Patreon. For more information on the commissioning process, check out my Commission Information page.
If a commission isn’t in the cards for you right now but you’d still love something new, I sometimes have a stray piece or two looking for a good home and a world premiere. Look for them on my full works list or in my Works for Sale with “(unperformed!)” at the end of the title.
how can I buy your music?
I currently only deliver scores in PDF format and fixed media in WAV (though MP3 is available on request if you need it specifically). To order a work that’s already available, head on over to my Works for Sale page. Pieces are listed in alphabetical order (note some pieces are available for multiple instrumentations). As long as there’s an Add To Cart button, you can order it and get it delivered to your inbox as soon as your payment is processed! If you ever purchase a piece and have trouble opening a file (or need something delivered in another format!), let me know and I’ll be happy to assist.
Some works are unavailable for instant sale and download through my website. This usually means I’m cleaning/editing parts or I only offer the piece to performers with projects that align with its emotional content. Some of these will come available in time, but if you’re interested, I highly recommend filling out the form on that piece’s product page. It’ll let me know I need to prioritize cleaning those parts or start a conversation with you!
If you’re looking to just listen to recorded versions, I have formal releases available on my Bandcamp (which . . . y’know . . . 10/10 would recommend), and other recordings from concerts and recitals are available on my SoundCloud and YouTube.
how do I hire you for something else?
Check out my Services page for information on lessons, lectures, workshops, clinics, studio recording, and other projects. For gigs and other things that require an answer pretty soon, the easiest way to reach me is by email: eris [at] erisdejarnett [dot] com.
I don’t, as a rule, field any requests on social media. If you hit me up there, just know I’m going to ask you to send me an email. It’s much easier to keep track of our conversation (and the specifics of your project) there!
how do I navigate your pronouns?
Currently, I use ey/they pronouns, meaning both ey/em/eir/eirs/emself* or eirself and they/them/their/theirs/themself or theirself should be used to refer to me. If you’re new to multipronoun sets, I recommend practicing as much as you can, even if that’s just talking with a friend. Some multipronoun users have a preference for one of the two or more pronouns they specify. Because I’m genderflux, I find both ey and they to be important ways I reflect my gender linguistically. (Actually, I use a lot more than these, but at this time this is what I’m comfortable using professionally/publicly.) Please use both ey and they when referring to me. Some folks alternate every other pronoun, but if that’s a difficult adjustment, every other sentence also works really well! (I do that in my bio, for the most part.) Bare minimum, I’d recommend shooting for swapping at least every other paragraph (or, if you’re really really unsure, please use they/them exclusively). Using any pronouns beyond ey and they is misgendering.
One small note: if you’re reprinting my bio, please never rewrite it to only use one set of pronouns unless we have been in direct contact and I’ve given you specific instructions to do so. If you’re playing my work and talking about it, our shared audiences should be meeting me as I choose to represent myself, not some watered-down version. If you edit my bio to misgender me, I WILL put you on blast publicly and I likely won’t let you play my work again. Don’t do it.
*These are called Elverson pronouns, in case you’d like to do more reading on them.
what if I have to talk about your gender?
Here’s my best advice for almost any situation where you’re talking about a nonbinary gender: if you don’t feel like you can do a good job accurately explaining something, you can always just say nonbinary! It’s a wonderful, intentionally-open-to-interpretation word that gives folks a general sense of direction without requiring too much of you as a third party. (The only exception here is if someone’s told you not to use nonbinary to describe them.) If you’d like to be more precise, some other words you can use to describe me, in increasing degree of specificity, are: genderqueer, genderfluid, genderflux, and agenderflux. Genderqueer is also a great general term for my gender, if nonbinary doesn’t feel like the right move for whatever reason.
In the past, I’ve made different calls about what I identified as publicly, but yes, I am a trans composer, and trans is a word you can use to describe me (though I like any of the above far more because they’re all more specific).
Please don’t put me on your all-women-composers concert. If you’d like to include my work in something like this, you’re actually having a gender-marginalized-composers concert, and you should also get rep from trans women, trans men, and more (and different types of) nonbinary people! Femininity is part of my gender expression, and part of my gender is connected to womanhood, but I am not a woman.
what title should I use for you?
Mx. (pronounced “mix”) is a pretty commonly used gender-neutral honorific, and it’s the one I prefer. I’m also fine with Prof. (No doctorate, currently, so that’s the best I’ve got.) However, I only really lean on titles when students are involved, and anytime I sign off on an email with my first name (not my default signature, but the actual closing), you’re 100% good to first-name me from there on out unless we run into something situationally weird.
I messed up! what do I do?
Shit happens! As long as you’re not doing it maliciously, there’s really just two important things to do here: correct yourself (or accept correction if it’s offered by someone else) and continue working to get things right consistently. Ideally, that looks something like this:
You: “I talked with Eris today, and he—I mean, they told me about a new piece they’re writing!”
You: “I talked with Eris today, and he told me—”
Someone else: “ey!”
You: “Right, thanks! Ey told me about a new piece ey’re writing!”
If you’re misprinting my name in your program, that’s… a bigger, less fun thing. Most of y’all likely haven’t played me before, so getting it right the first time is going to be easier, but if you’re cut/pasting from old programs when you play my work again, please make sure the right name and pronouns exist anywhere they show up. (If you pulled my bio off my website, remember to check that, too.)
where can I read your writing about queer identity?
Here’s a list to get you started (hopefully I remember to update it):
- It’s Been a Year, ICD. Where’s The Change?, September 2021
- I’m Using ey/they Now. Let’s Talk., July 2021
- (Post-)Pandemic Resolutions, July 2021
- Are You *Actually* Safe to Come Out To?, June 2021
- How To Read Me, feat. Untouchable (Again), May 2021
- crushes, relationships, and amatonormativity, May 2021
- Pride Isn’t A Reason To Exploit Queer Composers, May 2021
- nonbinary musings from my first year out, May 2021
- No More Groveling Emails, April 2021
- ICD Review part 1, part 2, and part 3, March and April 2021
- Claiming “Woman” and the Nuance of Non-Binary Gender, March 2021
- Please Stop Dirty Deleting, February 2021 (broader but addresses a pronouns update)
- (Dude/Bro) Isn’t Funny: Let’s Talk About Pronouns, January 2021
- I’m Taking My Name Off the Institute for Composer Diversity, September 2020
- JK Rowling, TERFs, Bioessentialism, Sexual Assault, and Trauma Performativity (or, in other words… yikes), June 2020
- On Identity (specifically, mine), May 2020
- Ownvoices versus Intentional Programming: A Primer, March 2020
- Talking About Women Composers Isn’t Enough, February 2020
- Ma Rainey, Bessie Smith, and the Importance of Teaching Identity, December 2019
“I run the risk not only of dealing with queerphobic hate but also of people who have long looked to me as an advocate and authority on women in music deciding that maybe I don’t count anymore because I’m not a woman all the time. But the thing about intersectionality is that while my experiences as a queer person do play off of and interact with my experiences as a woman (and a demigirl and an agender person), neither cancels the other out. They both matter.”my coming-out post, May 2020