Consider a Consortium.
Lower individual fees.
Individual buy-ins can be as low as $50! Great if traditional commissions are financially out of reach.
One year of exclusivity.
You and your consortium members are the only ones who can play the new piece for a full year after delivery.
Join a project you love.
Hop on any consortium that sounds cool to you, even if you just want to support without performing the work!
New music: with friends.
Grab your favorite performers and commission a work together! Recruit your rivals and see who plays it best!
(looking for a commission instead? click here.
like what you see? keep reading.)
KENOCHORIC for brass quintet: Register and pay by June 20, 2023.
Exclusivity period: July 1, 2023-June 30, 2024. This piece will be a collection of three to five movements with an expected duration between 12 and 20 minutes. At a time where self-determination in all its forms is increasingly under threat, it’s more important than ever that we make the effort to dive deep within ourselves and figure out who we want to be—even if the traits and associations that ring true don’t fit neatly into any of the boxes we’re offered. KENOCHORIC will explore these ideas and others through the brass quintet, asking performers to venture beyond traditional idioms and augment their existing sound through well-prepared extended techniques. Rather than exhibiting these skills in exposed solos, this work will focus on blend (or, occasionally, an intentional lack thereof) and ensemble coordination while inviting each individual member to play with means of sound production that may not always be familiar. On delivery of the finished piece, all consortium members will receive, along with two sets of program notes and a detailed collection of performance notes, a video overview of the techniques and notations utilized in each movement. Payment due date: June 20, 2023. For complete details and additional thoughts from Eris, click here.
About My Consortium Projects
I’m pleased to offer consortium options for certain pieces/instrumentations. Consortia are a great choice for folks who want to get in on the ground floor of a new piece but don’t have the funds to front a commission singlehandedly. Generally, consortium members sign onto a project I’ve already started or proposed, resulting in a little more structural rigidity than would typically exist in a traditional commission process. That means that when you sign on, you already have a pretty good idea of what the end result will be and when it’ll arrive, bypassing a lot of those initial questions you’d find in a commission.
An ideal consortium piece, for me, falls into one of two categories: for one to two instruments, with or without piano/fixed media accompaniment, OR for standardized ensembles, like brass/wind/reed quintet, wind ensemble, orchestra, or choir. I prioritize instrumentations that are likely to be widely performed, with durations usually between seven and twenty minutes. Consortia are also a chance for me to stretch my chops a little and dive back into subject matter I care deeply about, so if you’ve been looking for a Letters piece for your instrument (or LETTING GO, or something queer, or…), a consortium would be a great place to put that forward.
All my consortia currently offer one year of exclusivity, during which no one besides the original batch of commissioners can perform the piece. I may start selling scores at the eleven-month mark, but until the year is up, the piece can only be purchased by performers/directors who have specified a performance date outside of that one-year window. Applicable exclusivity dates will be clearly marked in the contract you sign when you join the consortium.
Ultimately, I hope to use consortia to offer a method by which many people can support my work at a lower individual cost, hopefully in a way that leaves room for developing relationships and strengthening bonds between folks who might not otherwise be involved in a commission process together. If you’re interested in starting one, drop me a line below. If you’re looking to sign onto one, scroll back to the top to see any active consortia I’ve got running.
Joining a Consortium
If you want to join an existing consortium, you may do so at any time after the consortium goes live up until the payment deadline (usually a few days before scores are delivered to members). I do on occasion deliver pieces early, so I encourage you to sign up earlier rather than later. (You don’t have to pay immediately after signup—just by the deadline.) If you’d like to support my work but aren’t a performer yourself (or don’t have an ensemble to play the thing, etc.) and you want to facilitate creation more directly than through my Patreon, joining a consortium is a great chance to do that! Just let me know that’s your plan; you’ll be under no obligation to perform the piece if you don’t have the forces to do so.
Leading a Consortium
If you’re interested in leading a consortium, expect to be the primary recruiter. Your enthusiasm for the project is so important! You’ll be responsible for sharing general information about the project (which I’ll provide to you), getting others on board, and generally hyping things up. In return, you’ll have the option of giving the world premiere of the new piece if it’s within an agreed-upon length of time after delivery (some percentage of the exclusivity window). I’ll also offer you two virtual rehearsal visits as part of your consortium buy-in (at no additional charge), whereas other consortium members will be eligible for up to one. You alone will have first right of refusal (for one to two years depending on the project), should you be interested in making a professional recording of the piece. Typically I look for a minimum of ten commissioners per consortium, so if you have nine excited friends or colleagues, you’re already in good shape!
To get in contact with me about leading a consortium, use this form:
neverending rain for grade 2.5 wind ensemble (2022)
Exclusivity period: January 1-December 31, 2023.
Pitch excerpt: neverending rain will be a grade 2-2.5 wind ensemble work of three to five minutes in length that explores the ups and downs of re-negotiating friendships as each of us learns about our own identity. The piece will be a ballad (likely 70-80bpm). All non-pitched percussion in the piece can be played either on the listed instruments or using found percussion whose timbre or performance method supports the musical moment at hand (suggestions and additional guidance will be provided). Additionally, wind players across the ensemble will have the opportunity to contribute to the overall soundscape through occasional calls for air noises or similar ambient sounds made using their instruments and/or surroundings. (To facilitate smooth rehearsals for groups of all ages, directors will be able to either direct performers toward specific sounds or open the floor for experimentation.) A flex band arrangement will also be made available to consortium members at both tiers. Ideally, neverending rain will provide an opportunity to engage with performers about how we can (and sometimes do) frame sound as music while allowing directors to control the level of chaos across the group.
Consortium members who sign on for neverending rain at any tier will receive a fully-orchestrated wind ensemble version AND a flex band version (4-6 parts), plus exclusivity for a full year. Tier 2 consortium members will also receive wind ensemble and flex band orchestrations of (Calm) Before the Storm (anticipated grade 2, run time approx. 2’), from my 2015 trumpet trio RPM. Though (Calm) was written much earlier in my career, it is the sister piece to neverending rain, and directors may choose to program the two ballads on the same program, on multiple concerts across the same season, or completely independently of each other. Both tiers contain additional perks besides the pieces! Learn more about the neverending rain consortium on my blog.
go to the garden for B-flat or C trumpet and fixed media (2022)
Exclusivity period: April 1, 2022-March 31, 2023.
Pitch excerpt: The piece will run approx. 3′, 6′, and 9′ in three different versions, all of which will be made available to consortium members. Each longer version builds on the material introduced in its shorter counterpart(s), continuing the story and perspective presented in the playback while also gradually scaling up in difficulty. (The complete piece should be attainable for most collegiate-level players and up, though I hope to keep it within reach for ambitious high schoolers.) The content of the piece will be centered on solitude, rest, grief, and safety, particularly given how difficult COVID-19 has made many of those things. Though I have not yet written the narration that will appear in the playback, potential content warnings may include: death of a family member, transphobia, systemic ableism, suicide/suicidal ideation, COVID-19, and abusive teachers and partners. For more about the piece and this consortium process, read a robust overview on my blog.