Collaborate with me.

Commission New Music

If you have enjoyed my music and would like to start a conversation about commissioning an original composition, I invite you to contact me. I write music in an array of genres, and have composed for ensembles ranging from 40-piece orchestras to construction machinery. I have received commissions to write for a wide variety of projects, from symphonic works and musicals to interactive app soundtracks and ballets. Whether you are interested in commissioning concert music or another genre of music for a particular project or occasion, I welcome the opportunity to discuss your interests and my composition process with you.

License Existing Music

Licensing music is usually complicated and expensive. But because I compose, perform, record, and publish my music, there are no third parties, making it simpler and cheaper. I already make much of my music free to license for non-commercial use. (See Creative Commons Attribution-NonCommercial 3.0 Unported License.) My process for issuing a license for commercial use is simple and fast. The cost will be based almost solely on the potential listener/viewership for your commercial endeavor that will incorporate my music. I invite you to contact me to discussing obtaining a commercial license.

I am not exactly a ‘purist.’ I compose in many genres for many purposes. And I enjoy creating musical colors and textures that vivify the emotion of narratives and visuals. The following sampler provides examples of the kinds of musical colors and textures I can create for your project. (The complete tracks which are excerpted in this sampler are also available for licensing.)

Learn more about my work as a composer.

I discuss my musical influences and approach to composition in this interview with music magazine Fifteen Questions

My music has been described as “stirring and poignant” (AllAboutJazz), “a vibrant, imaginative composition… rapturous” (Textura). Using textures that range from lush symphonic to visceral soundscapes, I have composed for a spectrum of ensembles and debuted compositions at New York venues such as National Sawdust. Recent commissions and compositions include a musical currently in development (2019); BLUEPRINT: for orchestral improvisation & spontaneous ballet (2019), premiering in New York with Maestro Daniel Zinn and choreography by Batsheva’s Or Meir Schreiber, with performances at Boston Ballet’s BB@home series choreographed by Joy Womack formerly of Bolshoi Ballet; and How to Listen to Machines (2017-present), a composition that weaves melodies through the rhythms and overtones of machine sounds recorded by collaborators worldwide. Describing How to Listen to Machines, which debuted at the New York City Electroacoustic Music Festival, called it “a full-throated, emotional musical declaration,” while A Closer Listen noted that “Hall receives the mechanical noises as gifts, and returns the gifts with his bow.” Trained as a violinist in both classical and jazz, I have headlined as soloist in major venues throughout the US and Europe, including Ordway Theatre (St. Paul), Orchestral Hall (Mpls), and Liszt Academy Hall (Budapest). Performance highlights include solos with major orchestras, such as a debut at age thirteen with the St. Paul Chamber Orchestra, and a series of performances with the Minnesota Orchestra; performances by invitation of a former US President and First Lady; a performance at the Kennedy Center for the opening of a James Wyeth exhibition; concerts with jazz legends Kenny Barron, Regina Carter, Paquito D’Rivera, and Giovanni Hidalgo; and TV and radio broadcasts. I have won competitions that include the Young People’s Symphony Concert Association Competition (2000), and was a Stradivari Society recipient of a 16th-century Gasparo De Salo violin.