Whenever fellow composers ask for career advice, the first words out of my mouth are “Write choral music!” My interest in writing for choir has led to over 70 commissioned works and a robust freelance career that generates the vast bulk of my income.
I am perplexed by the neglect of choral music in most composition degree programs. Despite typically spending multiple semesters studying orchestration, our formal training in choral writing often begins and ends with four-part chorale exercises. I received excellent composition instruction, but I don’t recall ever analyzing contemporary choral music, and I never heard terms like “passaggio” or learned the technical considerations of different vocal registers; I gleaned most of my choral knowledge through self study and my experience as a former choir kid. This seems wildly at odds with the landscape of opportunities for concert music composers in the US, where, by my observation, choirs (along with concert bands) are the entities most likely to perform and commission works by living composers.
In 2016, while I was composer-in-residence for the Saint Louis Chamber Chorus, artistic director Philip Barnes suggested I attend an American Choral Directors Association conference. My initial obtuse reaction was to wonder why I would register for a conductor symposium. Philip shot me a quizzical look, and a moment later, I smacked my forehead: of course! I needed to reach people in a position to program my music, and here was an event that gathered thousands of those potential customers. I packed myself off to the next national conference with a pocketful of business cards and a bag of scores (I had only four choral works at the time), and it changed my life. Since then, I’ve made it my business to attend national, regional, and state ACDA conferences, and my participation has been pivotal in carving out career success.
If you are a composer (or, as I like to say, “composition curious”—I firmly believe all musicians should compose), here is why you should write for choir.
1. Choirs are hungry for new repertoire
Unlike most orchestras, chamber groups, or opera companies, choirs are eager to perform new music. In part, this is because the risk of experimentation is lower; choral works are typically short, so choirs need plenty of songs to fill programs. But the difference is also cultural: I rarely encounter the adherence to the canon that exists in other genres. Commissioning is common, even among student and amateur choirs, and singers respond with enthusiasm and a genuine sense of ownership when collaborating with a composer.
2. Choral music is self-propagating
Promotion is a dreaded burden on early-career composers (and also an undertaught skill in academia), but here’s an important fact to note: almost every serious choral musician is involved in more than one ensemble, and choral culture is far more democratic than, say, orchestral culture. I sometimes put it this way: can you imagine an orchestral conductor taking programming suggestions from a second violinist? This is practically unheard of in the hierarchical orchestral world, yet if a singer encounters and enjoys a new work, it is not unusual for them to bring it to another group. Imagine the thrill of performers reaching out to you instead of the other way around—I have witnessed this firsthand since early in my career.
3. Choirs want music that responds to the present
Because vocal music contains text, choral programs tend to be overtly thematic, and choirs invest in programming that is relevant to their performers and audiences. If you find inspiration in modern events and perspectives, you will find choirs that are keen to perform your work.
4. There’s a choir for everyone
One in six adult Americans sing in some kind of choir. Between volunteer, church, educational, and professional ensembles, there is a group out there that resonates with your compositional style. ACDA is an umbrella organization for all types of choirs and a vital resource for you to find the right fit. Unsure of what to write? As an ACDA member, you can be a fly-on-the-wall, observing and responding to the desires and concerns of your future collaborators.
Next steps
Convinced? Here are my suggestions for how to proceed:
1. Make connections. Join a choir, especially if you’ve never sung in one—choir is good for you! There is no substitute for practical participation when it comes to learning—or networking—and there are countless non-auditioned ensembles where you can find a place. If you’re connected to an educational or sacred institution with a choir, reach out, and you may well find a willing collaborator.
2. Come to an ACDA conference. Six Region Conferences will take place in 2026—catch me at ACDA Eastern’s conference in Providence, RI, at the end of February. If you already have some choral music—even if you’re just getting started—sign up for our Composer Fair to get your music in front of hundreds of conductors. You can also attend sessions, meet industry professionals, and see performances by some of the best choirs in the area. It’s the easiest way to dive in.
If I sound like an evangelist, it’s because I am one; I love working with choirs, and I want more composers to reap the rewards. I can’t wait to see your name in a choral concert program and run into you at the next ACDA!
Dr. Melissa Dunphy is the R&R Chair for Composition. She serves on the faculty of the Mason Gross School of the Arts at Rutgers University.