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Bringing new music into the world keeps our greater profession a living vibrant thing of beauty, and closer to concerns for contemporary creativity for which all other arts are known--from dance to film to theatre and literature. There is nothing greater to celebrate milestones of personal achievement or moments of institutional or civic pride that commissioning a new piece of music. Thirty-six of the sixty works listed were requested and paid for by someone who felt music would make their moment special..and it did--for all the Stage works I've written, all the Large Ensemble, all the Choral music. Thirty-six works have someone's name on them and the performance made the event memorable for all in attendance and others who have heard those works in multiple performances since. This is music that is heard, performed, celebrated. If you are interested in a guaranteed experience from a proven pen, write to me for a guide to commissioning or simply ask what your idea might cost. It is truly an investment of a lifetime and beyond.


While performances are an important goal of every composer, writing music is a profession and that music should be purchased by performers. We are in this together and performance should not be its own reward for the composer, but joint venture between composer and performer where the music is purchased by the performer from the creator, leaving the re-creator to collect from the venue the performer's due for his or her labors. See rights below. Thank you for performing my music and write for a price list for purchase or rental.


All rights of composition remain with the composer whether a work is commissioned or not. Commissions may grant a privilege of first performance or recording rights, or allow the premiere to be free of performance rights. But all rights reside with the creator. Performance rights are collected for me by BMI. Before any performance, be sure the venue you are performing in has a BMI license or that your institution or ensemble has a current BMI blanket license agreement. If, however, you are a theatre company, opera company, ballet, TV or film company, I must negotiate these grand or synchronization rights with you before my music may be used. Many more pieces than are listed under Stage have been used effectively on stage because someone like you thought my music might work well in your production. See commissioning above. Remember this: all things are negotiable, but some real effort towards recompense must be made for serious consideration. See performing above.


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