I’m currently accepting new commissions for

Smaller scale works to be premiered in Fall/Winter 2024 and later.
Larger scale works to be premiered in Fall/Winter 2025 and later.


Guide to Commissioning a New Work

Commissioning a new piece of music is an adventure – a collaborative journey from idea to performance. I have worked with many groups and individuals – some with long histories of commissioning pieces and some commissioning for the first time – and each process has been unique.

What follows is a basic outline of how I like to work and what you can expect.


The fee depends on many different factors, such as the type of piece you envision, the instrumentation (string quartet, concert band), the voicing (SSAA a cappella or SATB and piano), the duration, and the level of difficulty. For vocal pieces, finding and obtaining permission for texts can also incur a fee. Commissioners are responsible for engraving costs – I compose music with pencil and paper and send completed manuscripts to Music Advantage for engraving.

New Music USA has compiled an industry-standard fee chart that I use as a starting point. Their chart, along with other useful information about the ins and outs of commissioning, can be found on their website.

Payment Schedule:

Half of the commission fee is due with the signed contract, and the remainder is due upon delivery of performance-ready score and parts (if applicable).

Time Frame:

The earlier I know about a commission, the easier it is to fit it into my schedule. At least an 18-month time frame from signing of contract to delivery of score is ideal. I’m happy to discuss working in shorter time frames but know that I want to take the time needed to create the best piece for you. In the end, I want to make something that you will want to perform again and again and that others will pick up in later years. I want to make a piece for us that takes on a life of its own.

The Contract:

My standard contract will be modified to reflect your specific needs and our negotiated agreement. If your group has a standard contract form, I am happy to use it.


First and foremost, it’s important to know your composer. Before you commit to commissioning a composer, be sure to know their music. Doing your research at the onset will make the whole process more rewarding for both parties.

Once you’ve decided you’re interested in commissioning a piece from me, knowing the answers to the following questions will help begin the process:

  • What is the instrumentation?
  • For whom am I writing? What’s their ability level?
  • What is the proposed duration?
  • When and where will the piece premiere?
  • What does your past programming look like?
  • What pieces work particularly well with you (your group) and why?
  • What makes a piece fun – what do you love to play/sing?
  • Can you point me to recordings that are representative of your group? (Getting to know the artist(s) for whom I am writing is a very important to me!)

Thank you for your time and your interest! Please complete the form below if you are interested in commissioning a new work or have further questions.



New Commissions

COMMISSIONS: Tell me more about your commission...

Thank you for your time and your interest! You may fill out the provided form if you are interested in commissioning a new work or send me an email inquiry.  

Commissions, Collaborators

Recent Commissions

String Quartet

Commissioned by the American Composers Forum

To be presented by Schubert Club

Premiere: TBD 


Steering by Monarchs for SATB Quartet and Piano

Commissioned by Nathaniel Barnett, Ariadne Lih and the Uncommon Music Festival

Based on poetry by Holly J. Hughes

Premiere: Saturday, August 6, 2022


Welcoming Blessing for SSAA voices

Commissioned for the College of Saint Benedict Women’s Choir

Based on poetry by Jan Richardson

Premiere: Spring 2023


do I wake or sleep? for SATB Chorus

Commissioned by The Seraphim Singers; Jennifer Lester, conductor

Based on poetry by Danielle Cadena Deulen

Premiere: March 4, 2023

Collaborators: Ensembles

Chamber Ensembles

Large Ensembles

Vocal Ensembles

Collaborators: Individual Artists


  • Arpad Schermann
  • Brian Stevens
  • Dale Warland
  • Donald Nally
  • Duane Schultess
  • Erick Lichte
  • Jennifer Lester
  • Margaret Winchell
  • Paul LaPrade
  • Sandra Peter
  • Shelby Laird
  • Kathy Romey
  • George Mathew
  • Teri Larson

Solo Performers



Visual Artists


  • Paul Gerike – Music Advantage, engraver

Instrument Builders


  • Roseanna Gamson

Collaborators: Presenters/Festivals


Collaborators: Education



Some Notable Students


“…it is the album’s centerpiece [Spectral Spirits] that is the major attraction. … Hill’s music evokes the bird in its particularity, and the overall effect of this is profoundly sad. It probably takes a virtuoso choir like The Crossing to do the work justice, but one may nevertheless hope that it becomes more widely performed on programs devoted to environmental themes. This is an especially strong outing from one of the most distinctive American choral ensembles.” 

Full Review


– James Manheim, AllMusic

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