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Composing for Middle and High School Choirs: A Conversation with Laura Farnell and Reginal Wright

Farnell: Once a piece is completed in Finale, the music formance experience. Another important factor is to select
notation software I use, I will submit it to the publisher for music you personally enjoy. If you aren’t excited about a
consideration for publication. Something that was surpris- piece of music yourself, motivating your singers to enjoy it
ing to me, and that I expect few directors realize, is the will be especially challenging.
length of time from the initial conception of a piece to the
availability of that printed piece. Wright: The internet is wonderful in allowing not only the
Once a composition is written and submitted, months ability to learn about composers, but also the ability to com-
may pass until an editor or editorial board review it. Once municate with living composers. Most composers would be
a piece is accepted for publication, a contract and “proofs” more than happy to do a workshop or Q/A with choirs via
are generated. When proof corrections are complete, the Zoom for free or for a small fee. Also, most composers have
piece moves to the printing and recording phase, and then personal websites where their entire catalogs are listed and
is finally available for purchase. This process takes many available to sample or purchase. Sites like YouTube and
months, even a year, and involves many people. Finally, di- Soundcloud allow the ability to listen to compositions as
rectors and singers might be surprised to learn that com- well. These avenues often also give access to unpublished
posers generally receive 10% of the sales of pieces. The manuscripts.
other 90% pays the salaries of the editors, engravers, mar-
keters, business personnel, marketing costs, etc. I wanted to What would you say to a conductor who wants
highlight that fact to remind everyone to purchase enough to alter ranges, reduce parts, etc., in a piece that
copies for each singer in their choir. If a piece of music you’ve composed?
costs $2 and a director purchases only five copies and then
photocopies the remainder, the composer receives only $1. Farnell: In adjudicated choral contest setting, I’d advise
against it. But, I have certainly altered other writers’ com-
Wright: For the most part, publishing has been really good positions and arrangements to make them work for my
to me. I am still learning the ins and outs of the business, singers more times than I can count! I suppose some com-
though. The big part that I think teachers/conductors posers might not like the idea of people altering their work,
should be aware of is how the funds are distributed. Dur- but I personally view this practice as a compliment. I think,
ing the process of publishing a piece, the actual piece goes “Wow! Someone likes my music enough to spend time
through several hands before being available to the end adapting it in order to use in their situation.” That said, if
user. These include editors, parts singers, engravers, distrib- you find a situation-specific need for, say, a treble version of
utors and local retailers. Each of those entities take a piece an SATB piece already in print, I’d encourage you to reach
of the pie. The more pieces sold, the bigger the pie. The out to the composer or publisher with the idea. Sometimes
standard percentage for the composer is 10%, therefore these suggestions highlight a need or spark an idea that re-
things like photocopying lessen the number of units sold, sults in a new voicing or composition.
which hurts everyone involved in the process. This results
in higher costs for printed/downloaded music. Wright: Have at it! My primary goal is for the choir to be
successful. In many cases, if they contact me I could help
How would you advise conductors or teachers go with that in terms of lowering/raising keys or suggesting
about finding, perusing, or studying your work, or alternative voicings.
the work of other composers?
What advice would you give to a conductor who has
Farnell: With regard to finding music, the internet has purchased a piece that you have composed?
made so much music so accessible, even overwhelmingly
so at times! But it’s still a wonderful resource for recordings Farnell: I think my advice would be similar for any piece
and more. I think that finding the right “fit” of literature of choral music, be it my composition or another piece:
for your choir and their ability level might be the most im- study the piece so you can help your singers find the pat-
portant step in setting up an ensemble for a successful per- terns as they learn, try to help your singers find an emo-

ChorTeach Volume 15 • Issue 1 16 Fall 2022