How Does a Composer Decide What to Write Next?
- Diana Mascari
- 28 minutes ago
- 5 min read
If you’ve ever wondered what to write next when composing, you’re not alone.
In my career as a composer of chamber music the question of what to write next has come up often. It’s also one of the most important questions my composition students ask.
Over the years, I’ve seen several different approaches.
Here are three examples:
When I studied with William Thomas McKinley, he always had a clear sense of what his next piece would be. Because of his experience and reputation, he focused on writing music that would be performed—and eventually recorded. He actively built relationships with performers, worked through his network, and even had a manager helping to secure opportunities.
Other teachers of mine, including Lukas Foss and Charles Fussell, approached this differently. By conducting ensembles and orchestras, they created opportunities for their own music to be performed—often leading to commissions from those same groups.
There are also composers who apply for grants in collaboration with ensembles, where both the composer and performers shape the nature and scope of a new work.
My Early Experience as a Composer
From 1992 through about 1995, I had steady opportunities to compose through Tom McKinley’s apprentice program. I was writing for ensembles connected to the program, and I never had to wonder what to compose next.
From 1996 to 2005, I continued this momentum by reaching out to performing groups and creating mutually beneficial arrangements—providing them with new works to premiere during their concert seasons. Some performances led to others, and again, I was never without a piece to write.
A Long Pause—and an Unexpected Return
By the early 2000s, performance opportunities became more limited. Some of the performers I worked with faced health challenges, and my own life responsibilities shifted. Eventually, I made the difficult decision to step away from composing.
I didn’t stop being a musician. I continued teaching piano, performing, leading jazz ensembles, and serving as a music director for a multicultural Presbyterian church. But composing itself came to a halt—for 17 years.
Then, after retiring from my position as music director, something I never expected happened:
I began composing again after a 17 year hiatus
A New Way Forward
When I returned, the landscape had changed dramatically.
I could use notation software like Sibelius to compose and hear my music immediately
I could share my work through online platforms
I could publish through Hal Leonard’s ArrangeMe
I could showcase my work on my own website
And I could reach out directly to performers
Recently, I contacted the Foundry Saxophone Quartet, who performed Finding a Peaceful Place Under the Clouds on several occasions.
Because I had developed a process for choosing what to compose next, I was also ready to offer them a new piece—Four for Four for Saxophone Quartet.
Inspiration and Motivation
What I’ve come to understand is this:
Composing requires both inspiration and motivation.
In a previous article, I explored this idea more deeply:
Both inspiration and motivation begin with a simple but important step:
deciding what to write next.
My Process Today
Step One I begin in a practical way—by choosing instrument combinations that are widely used and have performance potential.
Common examples include:
Solo instrument with piano (flute, clarinet, violin, cello, saxophone, etc.)
Traditional ensembles:
Woodwind quintet
String quartet
Brass quintet
Piano trio
Saxophone quartet
Frequently used combinations:
Flute and harp
Flute and guitar
Flute, cello, and piano
Step Two Once I’ve selected one or two possibilities, I begin listening.
I use Spotify and YouTube to:
explore how these ensembles sound
hear repertoire that resonates with me
begin forming an artistic direction
Step Three From there, I go deeper.
I often purchase two or three scores so I can:
follow along while listening
study the music visually
understand how composers shape their ideas
An Unexpected Discovery
Something unusual happened to me recently.
I knew I wanted to write for clarinet, but I couldn’t decide on the instrumentation. I considered:
a clarinet, cello, and piano trio
another clarinet and piano work
other possibilities—but nothing felt right
At the time, I was finishing my third woodwind quintet, and despite my research, nothing was “speaking” to me.
Then, during a Zoom conversation with clarinetist Kristen Mather—who will be performing my Mood Mosaic for Clarinet and Piano in early 2027—I shared my dilemma.
She made a few suggestions, and then casually asked:
“Have you ever heard of a Reed Quintet?”
I hadn’t.
She explained that while the genre has existed for about thirty years, it has become increasingly popular over the past decade.
So I did what I always do—I started researching.
Before long, I was immersed in Reed Quintet music on Spotify and YouTube. I studied scores. And eventually, I reached out to a quintet that expressed interest in a new work.
A Living Process
For the past several years, I’ve followed this process consistently.
It has kept me:
inspired
motivated
and engaged in meaningful creative work
To hear my chamber music compositions, visit my Compositions page. https://www.mascaripiano.com/compositions
A Thought for Composers
If you’re a composer—or someone who wants to begin composing—this question will always be there: What should I write next?
The answer doesn’t come all at once.
It begins with:
listening
exploring
and staying open to possibility
If you follow that path, you may find—as I have—that the next piece reveals itself in ways you didn’t expect.
And in doing so, you continue to contribute to the ever-growing repertoire of music by living composers.
Work With Me
If this reflection resonates with you, I invite you to explore how we might work together:
🎹 Piano Lessons https://www.mascaripiano.com/piano-lessons Personalized piano instruction for adults and students of all levels, grounded in musical understanding, technique, and expressive playing.
Composition Lessons https://www.mascaripiano.com/composition-lessons
One-on-one guidance for composers at any stage—whether you’re just beginning, returning after time away, or developing your own musical voice.
Free Consultation https://www.mascaripiano.com/contact Not sure where to start? Schedule a free consultation to talk about your goals, questions, and the best path forward for you.
Free Courses https://www.mascaripiano.com/free-courses
Explore complimentary courses designed to spark creativity, build confidence, and help you reconnect with your musical curiosity.
