Commissioning original music for your band program represents one of the most rewarding professional experiences you can have as a music educator. When you commission a work, you're not just adding another piece to your repertoire—you're creating something that has never existed before, contributing to the musical canon, and giving your students an unforgettable educational experience. However, the commissioning process can feel intimidating, especially for early-career directors who may be navigating tight budgets, uncertain administrative support, and the general chaos of keeping a band program afloat.
The good news? Commissioning music doesn't have to be reserved for prestigious programs with unlimited resources. With careful planning, creative fundraising, and a clear vision, you can bring new music into the world even if you're working in a small district or just starting your career. This guide will walk you through everything you need to know about commissioning music, from the initial spark of an idea to the premiere performance and beyond.
Understanding What a Commission Actually Is
Before diving into the logistics, let's clarify what we mean by commissioning music. A commission is a formal agreement where you (or your school, booster club, or consortium of schools) pay a composer to write an original piece specifically for your ensemble. This differs from purchasing existing music off the shelf—you're funding the creative process itself.
The commissioned work is typically written with your specific group in mind, taking into account your ensemble's instrumentation, ability level, and any thematic requirements you might have. The composer retains the copyright to the work, but your group usually receives the premiere performance rights and often gets recognized in the published score.
Commission fees vary wildly depending on the composer's experience and reputation, the length and complexity of the piece, and your timeline. You might pay anywhere from a few hundred dollars for a short work from an emerging composer to tens of thousands for a major piece by an established name. Most middle school and high school band commissions fall somewhere between $1,500 and $5,000, though regional variations and individual circumstances certainly apply.
Deciding If a Commission Is Right for Your Program
Not every band program needs to commission music immediately, and that's perfectly fine. However, certain situations make commissioning particularly meaningful. Perhaps you're celebrating a program milestone—a 50th anniversary, a new building, or honoring a retiring colleague. Maybe you want to highlight a specific cultural heritage represented in your community, or you're passionate about giving your students a connection to living composers and the creative process.
Commissioning also makes sense when you can't find existing repertoire that meets your specific needs. If you have unusual instrumentation challenges or want to explore themes that aren't well-represented in the band literature, commissioning allows you to fill that gap. Just as importantly, the process itself becomes an incredible teaching tool. Students who participate in a commission learn about the composing process, develop critical listening skills, and gain an appreciation for how music comes into being.
Before moving forward, honestly assess your program's capacity. Do you have the rehearsal time to learn a brand-new work that nobody has performed before? Are your students mature enough to handle the responsibility of a premiere? Can your administration support the project both financially and philosophically? If you're already drowning in band director burnout, adding a commission to your plate might not be the wisest choice—at least not this year.
Building Your Budget and Funding Strategy
Money matters, so let's address it head-on. The commission fee is just one part of your budget. You'll also need to account for copying costs (if you're receiving a manuscript score), travel expenses if you're bringing the composer to your school, recording costs if you want to document the premiere, and possibly legal fees if you're drafting a complex contract.
Start by determining what you can realistically afford. Check with your administration about available funds—some districts have grants or special allocations for innovative projects. Your booster organization may be willing to fund all or part of the commission, especially if you frame it as a legacy project that benefits students for years to come.
Fundraisers specifically dedicated to the commission can work well if you involve the community and explain the significance of the project. A "Note Fund" campaign where community members sponsor individual measures or minutes of music can be both effective and engaging. Some directors have success with silent auctions, dedicated concerts where all proceeds go to the commission fund, or even crowdfunding campaigns.
Consider forming a consortium with other schools. In a consortium commission, multiple band programs split the commission fee, and each group receives performance materials and the right to premiere the work within a designated time frame. This approach makes working with more established composers financially accessible while building connections with other directors. The composer benefits too, knowing their piece will receive multiple performances and reach a wider audience.
Choosing the Right Composer
Selecting a composer might be the most crucial decision in the entire process. You're entering into a creative partnership, and you want someone whose musical aesthetic aligns with your vision, who communicates well, and who understands the educational context.
Start by exploring composers whose existing work you admire. Attend reading sessions at conferences, listen to recordings, and ask colleagues for recommendations. Many composers maintain websites with audio samples and contact information. Look for someone whose style matches what you're hoping to achieve—whether that's adventurous contemporary language, accessible programming, culturally specific elements, or something else entirely.
Don't automatically rule out emerging composers. Graduate students and early-career composers often produce outstanding work at more accessible price points, and they may be more flexible and eager to collaborate. That said, there's value in working with experienced composers who understand band instrumentation inside and out and have a proven track record of writing performable, effective music.
Reach out to potential composers with a clear, professional inquiry. Introduce yourself and your program, explain your commission idea (including budget and timeline), and ask about their availability and interest. Most composers respond well to specificity—vague inquiries tend to get vague responses or no response at all.
Once you've identified a composer who's interested and available, have detailed conversations about your vision. Discuss your ensemble's strengths and limitations honestly. If your trumpet section is outstanding but your low brass struggle, say so. If you have an exceptional percussionist who could handle complex passages, mention it. Share information about your concert hall's acoustics, your typical rehearsal schedule, and your students' musical background. The more the composer understands your situation, the better they can write music that works for you.
Negotiating the Contract
Every commission needs a written contract, even if you're working with a friend or former teacher. The contract protects both parties and ensures everyone understands the expectations. While you don't necessarily need a lawyer for a straightforward commission, having a clear written agreement is non-negotiable.
Your contract should specify the commission fee and payment schedule. Common arrangements include half upfront and half upon delivery of the completed score, or payments divided into thirds at the contract signing, draft submission, and final score delivery. Include the expected length and instrumentation of the work, the delivery date for the completed score and parts, and any specific thematic or programmatic requirements.
Address premiere rights explicitly. Typically, the commissioning ensemble gets to premiere the work, but define what that means—does it refer to the world premiere only, or does your group get exclusive performance rights for a certain period? If you're part of a consortium, spell out how premiere rights are shared.
Discuss what happens if either party can't fulfill their obligations. What if the composer misses the deadline? What if your program has to cancel the premiere concert? What if the piece arrives and it's simply not performable by your group? These conversations feel awkward, but they're essential. Most contracts include clauses about revisions, allowing the commissioning group to request reasonable changes if the piece doesn't work as intended.
Finally, address the copyright and publishing. The composer typically retains copyright, but clarify whether they plan to seek publication and how that might affect your group's ability to perform the piece in the future. Some contracts include provisions where the commissioning ensemble's name is permanently printed on the score, which provides lasting recognition for your program's investment.
Managing the Creative Process
Once the contract is signed and you've made your first payment, the real work begins. The key to a successful commission is communication without micromanagement. You want to stay connected with the composer's progress without hovering over their shoulder or stifling their creativity.
Establish a reasonable check-in schedule. Monthly updates work well for longer pieces, while shorter works might only need one or two progress reports. Ask the composer to share sketches or preliminary drafts if they're willing—this gives you a chance to flag any major concerns before the piece is complete. However, remember that you hired this person for their artistic vision. Unless something is genuinely unworkable, trust their process.
If possible, involve your students in the commission. Some composers are willing to do virtual Q&A sessions where students can ask about the composing process. Others might send video updates about their progress. This involvement helps students feel invested in the project and transforms the commission from something you're doing to something the entire program is experiencing together. You might even explore how student leadership can play a role in promoting and preparing for the premiere.
When you receive the draft score, review it carefully and promptly. Check for obvious errors, evaluate whether the piece meets your specifications, and assess whether it's genuinely performable by your group. This is your opportunity to request revisions. Most composers expect and welcome feedback at this stage, but be specific and reasonable. "The trumpet parts are too high throughout" is useful feedback. "I don't like your harmonic language" is not—you hired them for their musical voice, after all.
Preparing for the Premiere
The premiere performance carries special significance. Your students are playing music that has never been heard before, and they're creating the definitive first interpretation that will influence how others approach the piece in the future. This responsibility can be motivating, but it also requires careful preparation.
Start by giving yourself more rehearsal time than you think you'll need. Even with a clean, well-engraved score, new music presents challenges that familiar repertoire doesn't. There's no recording to reference, no interpretive tradition to follow, and no one who can tell your students "this is how it goes." You're figuring it out together, which is both exciting and time-consuming.
As you rehearse, document everything. Take notes about passages that cause confusion, spots where the notation could be clearer, and balance issues that emerge in your concert hall. Share this information with the composer—they'll appreciate the feedback for potential revisions or for future performances by other groups. If you're recording the premiere (and you should be), those recordings become valuable documentation of the piece's first performance.
If your budget allows, invite the composer to attend the premiere. Most composers find it incredibly meaningful to hear their music performed live, and your students will remember meeting the creator of the piece they're playing. The composer can attend rehearsals, offer interpretive suggestions, and participate in the concert by speaking to the audience about the work. If an in-person visit isn't feasible, consider a virtual residency where the composer joins rehearsals via video call.
Think about how you'll present the premiere to your audience. Program notes should explain the commission's significance, perhaps including information about donors or consortium partners who made it possible. Consider whether the composer will speak before the performance, or whether you prefer to let the music speak for itself. Either approach can work, depending on your audience and the nature of the piece.
Beyond the Premiere
Your relationship with the commissioned work doesn't end with the premiere performance. In fact, one of the most valuable things you can do is continue performing the piece in subsequent years and encouraging colleagues to program it as well. Composers need their music performed regularly to sustain their careers, and you've invested in making this piece exist—you have a vested interest in its ongoing life.
Share your experience with other directors. Write about the process on social media or in state music education journals. Provide a recording and score sample to your state music education association's website or to music publisher reading rooms. Connect composers you've worked with to colleagues who might be interested in commissioning. These efforts help both the specific piece you commissioned and the broader ecosystem of new music for band.
Consider how the commission fits into your overall repertoire selection strategies. One benefit of commissioning is that you now have a piece perfectly suited to your program's needs, something you can return to when it fits your programming. If the piece becomes a signature work for your ensemble, even better—having a musical identity built around original repertoire can strengthen your program's reputation and students' pride in their participation.
Maintain your relationship with the composer. If the collaboration went well, you might commission them again in the future or recommend them to colleagues. Even if you don't plan another commission, staying connected means you'll hear about their new works and can advocate for their music in your professional circles. Remember, you're not just commissioning a piece—you're building a relationship with a creative partner who shares your commitment to making great music accessible to young musicians.
Common Pitfalls and How to Avoid Them
Even with careful planning, commissions can go awry. Understanding common problems helps you avoid them or at least handle them gracefully when they arise.
Budget overruns happen when you don't account for all expenses upfront. Beyond the commission fee, remember copying costs (which can be substantial for large ensemble pieces), shipping fees, travel expenses, recording costs, and potentially even payments to classified staff who help with logistics. Build in a contingency fund of at least 15-20% beyond your projected expenses.
Missed deadlines are perhaps the most common challenge. Composers are human beings with complex lives, and sometimes they fall behind schedule. Build buffer time into your timeline. If you need the piece by January for a March premiere, request a December delivery date in your contract. This cushion protects you if delays occur and reduces stress for everyone involved.
Communication breakdowns cause unnecessary anxiety and confusion. Establish clear expectations from the beginning about response times and check-in schedules. If you haven't heard from your composer in a while and it's making you nervous, just reach out. A friendly "checking in" message is perfectly appropriate and usually welcome.
Unrealistic expectations can doom a project before it starts. Be honest about your ensemble's abilities. If you program music that's too difficult, you'll either have to cancel the premiere (devastating for everyone) or perform the piece poorly (disappointing for the composer and embarrassing for your program). Similarly, be realistic about what $2,000 will get you. It probably won't be a 12-minute, technically virtuosic showpiece, but it might be a beautiful 4-minute work that your students will love performing.
The Educational Value of Commissioning
Beyond the musical outcome, commissioning provides extraordinary educational opportunities that justify the investment even beyond the resulting piece itself. Students learn that music isn't just a historical artifact—it's a living, breathing art form created by real people working today. This realization can transform how they engage with all music, not just the commissioned work.
The commissioning process also teaches students about professional collaboration, artistic vision, and the business side of music. They see how contracts work, how deadlines matter, and how creative projects require both artistic inspiration and practical planning. These lessons extend far beyond music education, touching on skills they'll use throughout their lives and careers, whether or not they become professional musicians. This aligns beautifully with how music as language for emotions can help students develop broader life skills.
For students considering composition as a career path, participating in a commission provides invaluable insight into the profession. They observe a working composer's process, see how professional musicians interpret new work, and understand the ecosystem that supports new music creation. You might inspire the next generation of composers simply by showing them that commissioning exists and that their future music could be brought to life by programs like yours.
Making It Sustainable
If your first commission succeeds, consider making it a regular practice rather than a one-time event. Some programs commission a new work every five years, tied to specific milestones or fundraising cycles. Others rotate between commissioning new works and performing existing commissioned pieces, building a repertoire of music with special meaning to their program.
Sustainability requires planning for both financial and artistic resources. If commissioning becomes part of your program's identity, build it into your regular budgeting process rather than treating each commission as an extraordinary expense. Develop relationships with multiple composers so you're not starting from scratch every time. Create systems for documenting your commissioning process so that institutional knowledge doesn't disappear if you leave or if leadership changes.
Consider how commissioning fits with other professional development initiatives. The skills you develop through commissioning—project management, contract negotiation, creative collaboration, and advocacy—transfer to many other aspects of music education leadership. If you're thinking about your growth as a music educator and building your professional capacity, commissioning represents valuable professional development that creates tangible benefits for your students while expanding your own capabilities.
Final Thoughts
Commissioning music for your band program might seem daunting, especially when you're also managing mixed ability groups, planning concerts, running fundraisers, and handling the thousand other responsibilities that come with being a band director. However, few professional experiences will be as meaningful or memorable. When you bring new music into existence, you're making a lasting contribution to the art form while giving your students an experience they'll remember for the rest of their lives.
Start small if you need to—a short, accessible piece from an emerging composer can be just as meaningful as a major work from an established name. Focus on building positive relationships with composers, communicating clearly, and managing expectations realistically. Celebrate the premiere and then keep performing the piece, sharing it with colleagues, and advocating for new music in band programs.
Your first commission might not be perfect. You'll probably learn lessons you wish you'd known beforehand, discover unexpected challenges, and find aspects of the process more complicated than you anticipated. That's okay. Every commissioned work represents learning and growth, both for your students and for you as a music educator. The world needs more new music written for school bands, and you have the power to make that happen.
So take the leap. Find a composer whose work excites you, start building your budget, and begin the conversation. Your students are waiting to play something that has never been played before, and you're the person who can make it happen. The band repertoire of the future is being written right now, and your program can be part of that story.
The music you commission might outlive us all, performed by students and ensembles we'll never meet, in circumstances we can't imagine. That's the magic of commissioning—you're not just creating something for this moment, but contributing something to the wider world of music that will resonate far beyond your band room. And honestly, what could be more exciting than that?
Post a Comment