That is a MASSIVE FERPA violation, holy shit.

And if you'd like to read more about Echoes and how we'll bring it to life, here's your info. We'd love to have you! 🧵/fin erisdejarnett.com/consortium-i...

If you've never met me before, I'm Eris, I use ey/they, and I compose works with strong narrative theming that focus on the ways we relate to each other. I also strive to keep my music as performer-oriented as possible, recognizing that many of us are impacted by disabling events and conditions.

No consortium member is REQUIRED to exercise any of their benefits. Hell, if you wanted to stay anonymous and not be listed by your name, I'd honor that too! Ultimately, I'm happy to work with every member of our consortium to craft an experience that works for them. 14/🧵

We're offering two consortium tiers. Tier 1 is your basic consortium tier: you pay $50, you get your name in the score and anywhere I list the consortium, and you get a PDF of the music. Tier 2 adds a virtual rehearsal, link placement, and a hard copy of the score on request. 13/🧵

So what's this piece even about, anyway? Jen, my consortium lead, told me very early in our collaborative process that her kid is one of her great joys. From there we spun a concept that's focused on play, growth, and self-love (and, for me, unmasking).

Ultimately, whether you're a musician or not, when you join Echoes I'm going to work hard to make sure you're able to follow along to the extent you'd like to—and if you'd rather just be a passive funder, once you sign your contract and pay your fee, you can ignore my emails. 😂 11/🧵

I also provide updates to my consortium members as the piece starts to unfurl itself, but I'm a big fan of plain language all the way. Here's an example of an early update I did for 'go to the garden' in 2022: (10/🧵)

mailchi.mp/0f0841063dfb...

For Echoes, I'm using the same tier pricing ($50/$75) that I used for another consortium three years ago. Full disclosure, my rates *have* gone up since then—but it's important to me to keep buy-ins low, so financial burden is a smaller barrier to access. 9/🧵

The other really huge reason joining a consortium is a great way for non-performers and non-musicians to support me is because you can help fund my work without committing to either a) a subscription like Patreon or b) a much larger amount like a standalone commission. 8/🧵

When you join a consortium of mine, like Echoes, yes, your rewards include a PDF copy of the score (and for this one, if you sign up at the higher tier you can request a pretty hard copy and I'll mail it to you). But you're not AT ALL obligated to do anything with it. 7/🧵

I think this is something a lot of consortia are technically built to allow, but it doesn't get talked about very much. That seems silly to me, because the group of people who asks me how they can support me the MOST are non-musicians—people for whom it would make zero sense to buy a score. 6/🧵

Beyond that, it's common to find unique quirks within consortia depending on the composer, consortium lead, and specifics about the project. A big one of mine: I don't require consortium members (besides the lead) to perform the piece, so non-performers and non-musicians are ACTIVELY welcomed. 5/🧵

Consortia usually (but do not always) have a specific performer attached to the project as the consortium lead. This person helps a TON with marketing and administrative backend, and usually in return they are given the right to give the world premiere. 4/🧵