For many flutists, commissioning new music feels like something reserved for a later stage of a career. It is often imagined as the domain of major institutions, large grants, or performers with long CVs and established relationships with composers. There is an unspoken assumption that commissioning is something to wait for. In reality, commissioning is far more common and far more accessible than it often appears.
Most flutists have already encountered commissioned music, even if they have not thought of it in those terms. If you have played a newly written ensemble piece that your university premiered or performed a work created through a consortium, you have participated in a commissioning process. You may not have communicated directly with the composer or discussed details of the piece, but the basic structure—music written for a specific purpose, time, or group—was already in place. Moving from that kind of experience to commissioning a work of your own is often a much smaller step than it seems.
This article is intended to make the commissioning process clearer and less intimidating for college flutists and freelance adult musicians. It is not a legal guide or a set of rigid rules. Instead, it offers practical ways of thinking about how commissioning can fit into your musical life and how these projects often unfold in real situations.
Rethinking What “Commissioning” Means
One of the most common barriers to commissioning is a narrow definition of what a “real” commission looks like. Many flutists imagine a large, expensive work with formal contracts, institutional backing, and a high-stakes premiere. While those projects certainly exist, they represent only one corner of a much larger landscape.
A commission might be a short unaccompanied solo work or a flute and piano piece. If you’re interested in electronics, consider commissioning a work involving electronics or fixed media. If you’re currently teaching applied lessons, it might be fun to commission a pedagogical piece for your students. If you like auxiliary instruments, such as piccolo, alto flute, bass flute, or Glissando headjoint, you might want to focus on a piece for those, since it always seems like there are fewer repertoire choices for them. If you are a member of a flute choir, consider a modular or flexible work with flexible instrumentation.
Length, budget, and instrumentation don’t determine the value of a piece. A thoughtfully written three-minute solo can be just as meaningful as a multi-movement concerto. For many composers, smaller-scale projects offer space for experimentation, risk-taking, and focused collaboration without the requirements of a large, extensive piece.
For performers commissioning for the first time, these projects are often a great place to begin. They allow performers to learn how commissioning works, how to navigate the collaborative process, and how their own artistic preferences emerge through the process.
Starting From What You Already Have
Commissioning becomes far more manageable when it grows out of your existing musical life rather than feeling like a separate, additional obligation.
Instead of trying to figure out how to add one more thing to your already-busy life, it is often more productive to ask whether a commissioning project would work for a project you already have going.
For example:
- Do you have a junior or senior recital coming up?
- Do you have a requirement to perform during a more casual student recital?
- Do you perform with a community flute choir and give regular performances?
- Do you have a particular kind of music for an auxiliary flute that doesn’t seem to exist yet (with a particular electronics sound, or a particular theme, for example)?
For students, a senior recital, capstone project, or chamber music requirement can naturally accommodate a new work. A short commission may replace or sit alongside standard repertoire really nicely. For freelance adult flutists, a flute choir performance or community performance with regular musical collaborators might provide an opportunity to include a commissioning project.
When a commission grows out of an existing structure, it feels purposeful rather than overwhelming and it is far more likely to reach completion and performance.
The Question Everyone Asks: How Are Commissions Paid?
Money is oftentimes the first concern. While it is tempting to search for definitive fee ranges, commissioning rarely fits into a single pricing model. What matters more is understanding how commissions are actually funded in practice.
Common pathways include personal funds, shared or consortium commissions, degree or educational requirements, institutional support, and grants and external funding.
In real life, commissions often combine multiple sources. A student might contribute personal funds while completing a degree requirement that supports the project artistically. A freelance duo might split costs while tying the commission to a recording or touring goal. An ensemble might pool resources among members to bring a new work into existence. Grants are available from arts organizations, state funding, and other types of funding.
In academic contexts, the educational and artistic value of the project may be just as important as the financial exchange. In freelance settings, commissions are often folded into broader goals such as recordings, professional visibility, or long-term collaborations.
Organizations such as New Music Box regularly publish articles that discuss commissioning models, expectations, and typical ranges. You can find a Commissioning Fees Calculator from them here: https://newmusicusa.org/nmbx/commissioning-fees-calculator/. These resources can be helpful reference points, but they should not become barriers. Commissioning is flexible by nature, and each project is negotiated individually.
What matters most is transparency, respect, and a shared understanding of the project’s scope.
Finding the Right Composer
Finding a composer does not require insider access or perfect networking skills. In most cases, it begins with paying attention to the music that already resonates with you.
Effective pathways include personal and professional (or school/university/college) networks; social media platforms where composers share their work; festivals, conferences, and new music events; recommendations from colleagues; music you already admire; or previous collaborators.
Choosing a composer because their music genuinely speaks to you is far more important than choosing based on reputation alone. A strong artistic fit leads to better communication, clearer expectations, and a more satisfying final result.
Commissioning someone you already know can feel more comfortable, especially for a first project. Commissioning someone whose music you deeply admire but who you haven’t met yet can be equally rewarding when approached thoughtfully.
Cold outreach is possible, but it is often more challenging. When it works, it is usually because the performer communicates clearly, demonstrates genuine interest, and proposes a project that feels realistic and respectful of the composer’s time. However, this might be a more challenging way to start a first commissioning project.
Making the First Contact
Reaching out to a composer does not require a polished proposal or a fully formed plan. It does benefit from clarity and intention.
Before making contact, it helps to know the type of piece you’re imaging, the performance or recording context, a general timeline, and why you’re drawn to the composer’s work. You don’t necessarily need finalized budgets, legal language, or every logistical detail figured out already.
An initial message can be brief and conversational. Express interest, share context, and invite dialogue. Commissioning begins with curiosity and collaboration.
What the Collaborative Process Usually Looks Like
Every commission is different, but many follow a similar arc. Usually, there’s an initial discussion. It’s likely that there will need to be a follow up conversation after everyone has had time to think about the potential project. If everyone decides to move forward with a project, then a timeline needs to be determined. Later in the process, as the composer finishes drafts, they will likely share those with you for feedback. Sometimes they will offer those in small parts and sometimes they will wait until later in their compositional process. Then they’ll revise the work and deliver the finalized score to you. Then it’s your turn! You will practice the piece and then perform and/or record it. This is very important: make sure you notify the composer about when and where it’s performed (every single time), and be sure to get a copy of the program for them.
It is helpful to discuss what “feedback” and “revision” mean to both parties. Some revisions are structural; others are interpretive, like making sure everyone is on the same page about markings, or practical, like difficult fingering combinations. Timelines may shift, especially around academic calendars or performance scheduling.
Most challenges in commissioning are communication challenges, not artistic ones. Openness, patience, and professionalism go a long way.
Early Commissions vs. Later Commissions
Many performers worry about “getting it right” on their first commission. In reality, commissioning, like performing, is something learned over time.
Early commissions can sometimes focus on practicality and feasibility and involve shorter works. Later commissions may become more concept-driven, involve larger forces or longer timelines, and build on established composer relationships. It’s really rewarding to develop these collaborations.
Both stages are valuable. Early commissions teach communication, collaboration, and self-advocacy. Later commissions deepen artistic identity and long-term vision. There is no need to skip steps or wait for permission.
Rights, Exclusivity, and Dedications
Commissioning does not require legal expertise, but it does benefit from basic clarity around rights and expectations. Topics worth discussing include time-limited performance exclusivity (how long can you be the *only* person allowed to play the piece?), recording rights, future performances, and dedications.
These conversations are not adversarial. They exist to protect both performer and composer and to ensure the piece can have a meaningful life beyond its premiere. Most composers are accustomed to these discussions and appreciate clarity early in the process.
How Commissioning Changes Your Relationship to Repertoire
Commissioning fundamentally changes how performers relate to music. Instead of adapting yourself to existing repertoire, you participate in shaping music around your sound, technique, interests, and artistic goals. Many flutists find that commissioning expands technical and expressive possibilities and clarifies their artistic identity. The collaboration that is required to create a commission is a deeply rewarding event.
It’s important to remember that new works do not replace traditional repertoire. You don’t have to choose to be a “traditional” performer or a “new music” performer. New works sit alongside established one, enriching the flute’s evolving musical landscape and giving performers an active role in shaping that future.
Some Final Thoughts
Commissioning does not need to be dramatic or overwhelming. It can be incremental and intentional. I hope it can be highly rewarding for you.
Pay attention to the music that excites you. Notice the gaps in the repertoire you play. Allow yourself to imagine pieces that do not yet exist. When the moment feels right, start a conversation.
Commissioning is not about being “ready enough.” It is about curiosity, collaboration, and the willingness to help bring new music into the world.
Bio:
Tammy Evans is an Atlanta native flutist, collaborative musician, writer, and arts leader based in South Dakota and active internationally. A dedicated new music performer, she specializes in commissioning and teaching contemporary repertoire. Dr. Evans has commissioned over two dozen works involving flute, many expanding repertoire for the Glissando Headjoint.
She has presented and performed for the National Flute Association, British Flute Society, Canadian Flute Association, World Flutes Festival (Argentina), and the New Music Gathering, with additional appearances at Flute Festival Mid-South and the College Music Society. She has given recitals and masterclasses widely throughout the Midwest and Southeast.
A Fulbright Scholar to Egypt (2020), Dr. Evans’ work reflects a commitment to international collaboration and cultural exchange. Her recordings include Dreams Grow Like Slow Ice (2018) and Resonance (2021).
As a writer, Dr. Evans has published in The Flutist Quarterly, Flute Talk, Pan (Journal of the British Flute Society), The Flute View, Flute Examiner, and South Dakota Musician. A first-prize winner of the Atlanta Flute Club Young Artist Competition, she holds degrees from Kennesaw State University (BM), Indiana University (MM), and the University of Georgia (DMA).
Dr. Evans has served as a judge for competitions of the National Flute Association, British Flute Society, Flute Society of Kentucky, and San Diego Flute Guild. She is also Executive Director of Allegro Academy and a Powell Flutes artist. More at tammyevansflute.com.