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electro acoustic Competitions & Call for pieces

 Sonica 2019 Open Call
Summary:Call for Sonic Installations
Deadline: 08 May 2019
Date Posted: 17 April 2019
Details: Cryptic is seeking existing audiovisual installations by Scottish-based artists to be presented as part of their biennial visual sonic arts festival, Sonica, which returns to Glasgow from 31 October to 10 November 2019

Sonica is an 11-day biennial festival in Glasgow, dedicated to world-class visual sonic arts. Returning to Glasgow for its fifth edition, the award-winning festival will present cutting edge work by international artists alongside emerging UK talent across the city from Thu 31 October – Sun 10 November 2019. Since launching in 2012, the festival has presented over 800 events by 250 artists from six continents reaching audiences of over 160,000 people.

We are looking for innovative and creatively ambitious installations which are already existing and require no further development as this is something we are unable to fund. All Scottish-based artists, regardless of age or stage in their career, are welcome to apply. Artists who are currently in higher or further education are not eligible (this does not apply to PHD students who can apply.)

The selected artists will receive

– A guaranteed fee of £500 to cover time and labour for a one-day install and half-day de-install of their existing work, in line with the Scottish Artist Union’s 2019 rates of pay;

– Travel expenses for artists based out with Glasgow;

– Support in sourcing basic technical equipment where possible;

– Support for install/de-install where possible;

– Venue hire, PR and marketing support;

– Exhibition photography;

– A platform for your work supported by an experienced, international arts company;

– An opportunity to participate in an international arts festival;

– An opportunity to build a new audience for your work;

– Valuable opportunities to develop networks alongside exceptional international and emerging artists.

If you would like to apply please download the submission guidelines and equal opportunities monitoring form below. Please consider the eligibility criteria and application content carefully before applying, ensuring you follow the guidelines. Cryptic is an equal opportunities organisation and welcomes applications from a broad range of applicants. We will work with all applicants to ensure their access needs are met during the selection process and will ensure that access requirements are not a factor in our decision making.

If you require additional support in completing your application or have any questions please contact Jennifer at or phone 0141 354 0544.

Applications should be sent as a single PDF file to: The PDF file name and email subject line should read YOURNAME Sonica Open Call 2019 Application. (e.g. Jim Smith Sonica Open Call 2019 Application.)

Application Deadline: 12 noon Wednesday 8 May 2019

 Electroacoustic Barn Dance Three Day Festival of Electronic Music & Art
Summary:Electroacoustic Call
Deadline: 15 June 2019
Date Posted: 17 April 2019
Details: Call for Scores 2019

The Division of Music at Jacksonville University in partnership with Jacksonville Dance Theatre and Space 42 are pleased to host the Ninth Annual Electroacoustic Barn Dance, a three-day festival of electronic music and art, to be held November 14-16, 2019 on the campus of Jacksonville University and Space 42 in Jacksonville, Florida. This year’s festival will feature Andrea Cheeseman, clarinetist; Thomas Dempster, bassoon; Sarah Jane Young, flutist and Tony Steve, percussionist. Composers are encouraged to submit solo works for all featured artists and duo or trio works for Andrea, Tom, Sarah and Tony.

Music Submissions

Any composer may submit up to two works for tape alone or instrument(s) and tape or electronics up to 8.1 channels, and video for consideration. Applicants are required to bring their own performers when not submitting works for the featured performers. Works in progress will be considered if a substantial part of the piece is completed. You will need to complete a submission form for each work. Accepted composers are required to attend the festival for their work to be performed.

Music Submission Form

Afterhours Submissions

Artists or groups interested in playing an extended set (maximum 20 minutes) during the afterhours should submit with the form below.

Afterhours Submission Form

Paper Submissions

Technical and research papers, lecture demonstrations, and workshop submissions that deal with music/multimedia and new technology are encouraged. Paper sessions are 20 minutes, including Q & A, each. Presenters may submit a maximum of two proposals. You will need to complete a submission form for each paper/presentation. Accepted presenters are required to attend, and (of course) present their work at the festival.

Paper Submission Form

Installation Submissions

We welcome submissions of any standalone or interactive installations with electronic or electroacoustic audio components. Please describe all space requirements and expected needs in the form below, though plan to bring all gear required to setup your installation.

Installation Submission Form

Diversity Statement

All works and papers will be given equal consideration, regardless of the age, race, gender, sexual orientation, or nationality of the composer/presenter. The EABD strives to create a balanced event of contemporary electroacoustic music from the diverse range of composers/presenters who submit.


Andrea Cheeseman is a clarinetist and teacher living in the Blue Ridge Mountains in Boone, North Carolina. Throughout her career, she has been committed to playing good music and collaborating with inspiring people who challenge her.

A versatile performer, Cheeseman frequently performs as a soloist and chamber musician. Although she regularly performs traditional repertoire, she is an advocate of new music and is a sought-after performer of electroacoustic music written for clarinet and bass clarinet. Wishing to promote electroacoustic music, she has toured extensively, giving recitals and masterclasses throughout the country. Additionally, Cheeseman has been a featured performer at festivals such as the Third Practice Electroacoustic Music Festival and the Electroacoustic Barn Dance and has appeared at SEAMUS (Society of Electroacoustic Music in the United States) conferences. She has been described as “a skilled performer with an ability to connect to the audience. And comfortable in her own skin, she has the uncanny ability to slide into the soundscape as if she were physically part of it.” Cheeseman has premiered pieces by today’s leading composers and is recording her debut album to be released Fall 2018.

Since 2009, Andrea has served on the faculty at Appalachian State University where she teaches studio lessons and a methods course as well as coaches chamber music. Prior to her appointment at ASU, Cheeseman was on the faculties of Delta State University, Alma College and Hillsdale College. Cheeseman earned the Doctorate of Musical Arts and Master of Music degrees in clarinet performance from Michigan State University and the Bachelor of Music degrees in clarinet performance and music education from Ithaca College.

When not teaching or performing, Cheeseman spends her time gardening, swimming, practicing ashtanga yoga and perfecting her kimchi recipe.

Thomas Dempster (or Tom) is a bassoonist, composer, and educator living in the hills of central Arkansas. He has performed at previous SEAMUS, College Music Society, and SCI conferences as well as at EABD, the Manchester University New Music Festival, and the University of Tennessee Contemporary Music Festival. He has previously performed with the Wilmington Symphony Orchestra, the Fayetteville Symphony Orchestra, the Danville Orchestra, the Greensboro Philharmonia, the Florence Symphony Orchestra, and the Winston-Salem Symphony Orchestra. He currently regularly performs with the Arkansas Symphony Orchestra in Little Rock, AR. Tom studied bassoon with Michael Burns at the University of North Carolina at Greensboro and had additional instruction with Kristin Wolfe-Jensen, Peter Simpson, and William Winstead.

As a composer, Tom’s works have been performed in 36 states and 15 foreign countries and can be found and/or heard on Navona Records, MusicSpoke, Potenza Publishing, and Quiet Design Records. He has received honors and accolades from ASCAP, BMI, Ithaca College, the South Carolina Arts Commission, the South Carolina Music Teachers Association, and a consortium of other nice people and institutions. Tom holds degrees in music composition and performance from the University of North Carolina at Greensboro (BM) and the University of Texas at Austin (MM, DMA), where his mentors have included Russell Pinkston, Eddie Bass, Kevin Puts, Dan Welcher, and Don Grantham. He has held teaching positions at UNC-Greensboro, Claflin University, South Carolina State University, and the Governor’s School of North Carolina. He is the coordinator of music studies and director of bands at the Arkansas School for Mathematics, Sciences, and the Arts, a campus of the University of Arkansas, where he teaches world music, music theory, private instruction, Blues and Rock, and folk music and acoustical physics.

When not otherwise occupied, Tom enjoys wrangling his beagle, hiking, and making glass art.

Tony Steve (b.1959) teaches percussion and composition. He has performed with the Jacksonville Symphony (member 13 years), Israeli Festival Orchestra, Glimmerglass Opera Orchestra, Hartford Symphony, North Eastern Pennsylvania Symphony, Greenwich Symphony, and Bridgeport Symphony as a percussionist. He has toured with “A Chorus Line” in Europe, appeared in Korea as marimba soloist with the Brooklyn Percussion Ensemble, and performed as percussionist at Madison Square Garden for “ A Christmas Carol”. In addition, he has worked with Henry Mancini, Lou Rawls, Sheri Lewis and The Xaiver Cugat Orchestra. As a recording artist he has appeared on numerous recordings. The latest is performing the music of Robert Moore with Karen Adair on her solo release. The work “Sonnets from Assisi” is for marimba and soprano soloist in three movements. Other recording include, Release with Free Range, and Midnight Clear with Bob Moore. His works are published by Keyboard Publications. He is a Mike Balter Mallet artist. Professor Steve has also won numerous ASCAP writers awards and his music is performed in America as well as Europe and Asia.

Sarah Jane Young currently on faculty at the University of West Florida and Bethune-Cookman University, Dr. Sarah Jane Young has performed with the Tallahassee Symphony since 2005 and the Pensacola Symphony since 2007 after having begun her orchestral career with the Wallingford Symphony Orchestra in Connecticut. Afterreceiving her Master’s degree from Florida State University, Sarah Jane was selected as the Professor of Flute at the King Hussein Foundation National Music Conservatory in Amman, Jordan. While there, she served as Principal Flute with the Amman Symphony Orchestra and the Amman Sinfonietta, as well as the National Music Conservatory Woodwind Quintet. She has performed for both Queen Noor (Queen Consort of Jordan) and Princess Muna al-Hussein (Princess consort of Jordan). As a soloist and chamber musician, she has performed in Canada, England, Jordan, Costa Rica, Belgium, Italy, Bolivia, and throughout the United States. Performance venues include Sprague Hall, Woolsey Hall, Jerash South Theater in Jordan, Carnegie Hall, and Lincoln Center. She has had the honor to share the stage with such prestigious artists as Gunther Schuller, Christopher O’Riley, J. K. Simmons,and Renée Fleming.

As a chamber musician Sarah Jane currently performs with Bold City Contemporary Ensemble based in Jacksonville, Florida, a featured ensemble at the TEDxJacksonville 2018 Conference. She is a founding member of Traverso Colore, a baroque flute ensemble; founding member of the Coreopsis Wind Quintet winner of the Promising Young Artist Competition; founding member of Duo Velocipede, an adventurous flute and saxophone duo specializing in the music of Neil Anderson- Himmelspach; and founding member of award winning new music ensemble What Is Noise.

She has performed as a guest artist at the National Institute of Music in Costa Rica, Harford Community College in Maryland, Furman University, the University of North Carolina at Ashville and Chapel Hill, James Madison University, University of Missouri, Florida State University, Webster University, the Conservatory of Music in Bolivia, University of Florida, and Troy University. She served on faculty at the FSU Summer Band Camp, Montelione Music Camp, and is currently on faculty at the Blue Lake Fine Arts Camp.

While at Florida State she studied with Eva Amsler and completed her treatise: A Survey of Orchestral Excerpt Books for the Flute. She received her Bachelor of Music degree from the University of Massachusetts where she studied with Christopher Krueger.

Aside from the featured artists, EABD is unable to provide performers for submitted works.

Technical Details

Please indicate in your tech requirements your input/output needs, as well as what equipment you will be bringing and what you need from EABD.


EABD takes place on the campus of Jacksonville University. All performance spaces during the day take place on campus. After-hours concerts will occur at Space 42 in the Cork Arts District of Jacksonville.

Dates & Cost

Deadline: Scores/materials must be submitted by June 15, 2019. We will respond by July 15, 2019.
Entry Fee: None
Registration Fee: $50 per work accepted, not per composer/presenter or performer.
For More Information:

 Composers Concordance 9th Annual 'Generations' Concert and Composition Competition
Summary:String quartet with electronics
Deadline: 28 April 2019
Date Posted: 11 April 2019
Details: About:
Composers Concordance, a presenting organization for contemporary music with a 35-year history of cutting-edge concert programming in NYC, announces a call for scores. Presented in collaboration with Goddard Riverside Community Arts, the event's theme is ‘Generations: Strings + Electronics.' The program will feature music of Aaron Alter, Dan Cooper, Debra Kaye, Gene Pritsker, Luis Andrei Cobo, Lynn Bechtold, Otto Luening, and Peter Jarvis, as well as two competition winners: one composer age 25 or younger, and another composer age 65 or older. Quartet Metadata: Lynn Bechtold, Hajnal Pivnick - violin, Carrie Frey - viola, and Jisoo Ok - cello, will perform. Competition winners are required to attend the concert, which will be held on May 31st at 8pm at Goddard Riverside's Bernie Wohl Center, 647 Columbus Avenue, (between 91st and 92nd Streets.) New York City.


All application materials must be received by April 28th, 2019 at noon EST;

No entry fee.

Two categories:
a. composers age 25 or younger [ie. as of May 31st, 2019]
b. composers age 65 or older [ie. as of May 31st, 2019]

Music should be written for
String Quartet (or subset) + Electronics
(i.e. solo, duo, trio pieces are welcome, however
all works submitted should include strings + electronics.)
Duration: at most 5 minutes; only 1 entry per applicant please;

To apply: please email the following materials to:

1.) pdf of the score - please note: your name should not appear on the score itself;
2.) mp3 of the audio ('MIDI mock-ups' are ok)
3.) name, contact info, and category: a or b (in the email please, not attached)
4.) bio / resumé (in the email please, not attached)

Note: If you have any questions, please contact us at
Web Site:composersconcordance.wixsite.c...

 2019 EAMF Call for Submissions
Summary:Electroacoustic Call
Deadline: 01 May 2019
Date Posted: 03 April 2019
Details: The Washington State University School of Music invites submissions to the third annual WSU ElectroAcousticMiniFest, held October 4-5, 2019 in Pullman, Washington. This year’s featured performer is trombone and euphonium artist Dr. Sarah Miller.

Dr. Miller is an international award-winning artist, appearing regularly as both a soloist and a chamber musician in concerts and festivals around the country. Her low brass chamber ensemble In Motus Quartet recently released their second CD with Emeritus Recordings, and she tours regularly with In Motus and with the Equinox Brass Quintet. Dr. Miller received her DMA in Low Brass Performance from the University of Kansas and MM in Euphonium Performance from University of Arkansas, and has been WSU professor of trombone since 2015.

Up to two submissions per composer are welcome in the following categories:
• Trombone or euphonium and electronics, to be performed by Dr. Sarah Miller;
• Live instrumental/vocal performance with electronics;
• Fixed-media electronics up to 8 channels;
• Live electronics up to 8 channels;
• Any of the above incorporating video;
• Intermedia/interactive installation pieces;
• Paper or lecture presentations about electronic sound research, analysis, techniques, aesthetics, etc. (limited to 50 minutes including discussion; shorter presentations of c.25 minutes are welcome, and will be combined in one session)

Live performers other than the featured performer must be provided by the composer. Our concert hall is equipped with an 8-channel sound system and video projector. Any required non-standard equipment must be provided by the submitter, including computer requirements beyond fixed-media playback (i.e., live electronics in Max/Supercollider/Ableton/etc).

Submissions are due by May 1, 2019. Accepted works will be announced by email and posted online on or before May 31. Accepted composers must attend the festival for their work to be programmed. Submit up to two works for consideration here (please submit multiple works separately):

A small entry fee of $5 per submission is used to cover the cost of paying outside adjudicators, and a registration fee of $20 per selected composer to assist with costs for concert and support staff and print materials. For questions, please email

Entry Fee:$5

 BANDO “IN VITRØ ~ Sound Art Exhibition | Call For Artists”
Summary:Electronic/sound installation call
Deadline: 15 May 2019
Date Posted: 27 March 2019
Details: LOXOSconcept is a non-profit cultural centre, active in the realization of artistic installations and promoting research into the aesthetic, analytical, musicological and scientific aspects of music. LOXOSconcept is project leader for the development of the cultural program for Matera European Capital of Culture 2019 with the project IN VITRØ ~ [ artificial sonification ].

“Matera is a special place, which burns in all of us thoughts and emotions. Since this harmony of life and resist, concrete example of resilience as now, Matera is a candidate in the name of the whole southern Italy, southern Europe and all the southern hemisphere, to express and represent the forgotten cultures, those who have keys and values to unlock a deeper crisis - economic, cultural, social - hence the dominant cultures cannot get out.”

IN VITRØ ~ [ artificial sonification ] is a sound art project aiming at investigate the relationship between sound and silence through artistic works and labs in the city of Matera and in other areas of Basilicata. The project presented by LOXOSconcept is part of one of the main topic of the Matera 2019 cultural program, Ancient Futures. IN VITRØ is perfectly placed within the theme "Ancient Future" as it has the ambition to see the past in the future (a transfigured past, re-elaborated, re-created) and to move in an open future that offers as a welcoming structure of the past (not simply by preserving it, but by offering it to experimentation and creativity). The project, in fact, chooses identitary places of the past such as cisterns, hypogea, castles and abbeys, to field a reflection on silence and sound not only aimed at underlining the theme of modern acoustic bombardment, but also to offer ideas for a new acoustic ecology.

aims and development ~
LOXOSconcept invites artists to submit artistic projects on novel and unexplored paradigms of Sound Art.

The program is open to artists who want to submit sound art works or wish to carry out experimental artworks through an artistic residency in Basilicata. The works proposed may be visual art works, performances, installations.

The call is composed by TWO different categories:

a) Performances that include electronic sounds and other elements (for instance a work with a new interface, laptop, performer and interactive live video, real-time coding, laptop improvisation, etc).

b) Sound Installations. This category covers sound installations/sculptures and audio-visual installations (pre-recorded or generated in real-time, interactive or not).

All entries will be pre-selected by LOXOSconcept organization (artistic direction - IT), evaluated in the arrival order and according to the following criteria: aesthetics, originality, innovation, technology and quality of the presentation. The final selection panel consists in members of all project partners: ZKM (zentrum fur kunst un medientechnologie - DE), Tempo Reale (Florence - IT), CeReNeM (Centre for Research in New Music, University of Huddersfield - UK), Gaudeamus Muziekweek (Utrecht - NL), Spaziomusica (Cagliari - IT).

During the exhibition in Matera (Sept 2019) all partners will be invited to participate in the program and may select artworks to show in their events/venues.

Regarding CeReNeM it would be at the Electric Spring festival 2020 ( Regarding Gaudeamus it would be at Gaudeamus Muziekweek 2020 (9-13 September - Regarding Tempo Reale it would be at Tempo Reale Festival 2020 (
Regarding Spaziomusica it would be at Spaziomusica festival 2020 ( Regarding ZKM (zentrum fur kunst un medientechnologie) - Karlsruhe (

A fund “Travel Grant” of 2000€ in total will be available to support the participation of the selected artists to the exhibition. The organization may provide an official invitation letter to the selected artists.

One live performance will be selected to open for Ryoichi Kurokawa’s concert on September 27th 2019, S. Pietro Caveoso square in Matera.

LOXOSconcept will :
a) organize the “IN VITRØ sound art exhibition” co-produced with Foundation Matera-Basilicata 2019;
b) provide the necessary technical equipment and professional support;
c) provide many different venues for performing art;
d) provide Audiovisual recording and photobook for all live performances;
e) publish the “IN VITRØ exhibition and performances” catalogue;
f) promote all selected artworks through partners and Matera 2019 networks;

The call is open to artists of any nationality and age.
- It is possible to submit a maximum of 2 works. The submitted work may have been performed in concert or exhibited previously.
- A non-refundable entry fee of 20,00 € (twenty/00 euros) per submission is required.
Entry Fee:€20

 Giga-Hertz Award 2019
Summary:Electronic and Acousmatic Competition
Deadline: 31 May 2019
Date Posted: 20 March 2019
Details: Since 2007, the Giga-Hertz Award for electronic and acousmatic music has been jointly awarded by the ZKM | Hertz-Lab (formerly Institute for Music and Acoustics) and the SWR Experimentalstudio.

The Giga-Hertz Award is endowed with a total of 20,000 € prize money. The main prize for the lifetime achievement, which is €10,000, is proposed by the jury and is not selected from the entries. The two internationally oriented Giga-Hertz Production Prizes, endowed with 5,000 €, serve to initiate and promote new projects. In 2019, the focus will be on »machine learning«. Candidates are judged on the basis of a composition not more than five years old and a proposal for a new projected work. The focus of the Production Awards is to honor a work, and not a person. The competition is advertised publicly each year and is open to composers of all ages.

All compositions submitted should meet at least one of the following criteria:
• Compositions using live electronics
• Composition for fixed media
• Mixed music
• Concert installation
• Transmedial composition
• Experimental sound performance
• Interdisciplinary performance (with relevant music or sound components)

In 2019, the topic area of machine learning should be given particular attention in the selection of the working scholarship. In this context, artists should be motivated to apply in particular with musical works which have been realized through the use of machine learning. Alongside this, other works which have been realized with digital or electronic technology can also be submitted.

Prize Money
The Production Award consists of a project realization grant with which the award winners realize their submitted exposé at the ZKM | Hertz-Lab in Karlsruhe or the SWR Experimentalstudio. This includes technical support and guidance by the studio.

The realization grant covers the costs for travel to and from the location of realization, plus board and accommodation while working there. The scholarship is used to realize a work with electronics in a studio selected by the jury. The decision about where the work will be realized is taken by the jury on the basis of the aesthetic orientation of the composer and the specific details of the submitted project. The working period should not be less than two months at the ZKM | Hertz-Lab or two to four weeks at the SWR Experimentalstudio respectively. It is envisaged that the new work will be premiered at the award ceremony of the Giga-Hertz Award the following year and also broadcast on the radio. However, recipients of the production awards have no legal entitlement to specific services from the ZKM or the SWR Experimentalstudio or to the performance or radio broadcast of their prize-winning works or the new works resulting from the realization grants.

Entry Details
• Beginning of the online applications: March 4, 2019
• Application deadline: May 31, 2019!

Online Application:

Please read the following information carefully before you enter.

If you have any questions or concerns, please contact:

The following are required for your application
• biography with details of artistic career (max. number of characters 1000 characters incl. spaces)
• portrait photograph of the artist (min. 300 dpi)
• description of the submitted work (work should not be more than five years old; max. 2000 characters incl. spaces), technical information on this work, and optional, the score and image files of the work
• project exposé about a new, yet to be realized work at the ZKM | Hertz-Lab, as well as technical information about this work
The application is online [Link]

Please note:
• The deadline for sending in the complete application is May 31, 2019.
• The work should not be more than five years old; it should not have already received any awards, or been previously submitted for the Giga-Hertz-Award competition.
• Employees of the organisers, sponsors, prizegivers, and patrons of the Giga-Hertz-Award as well as the members of the jury are excluded from participation.
• Please apply with only one piece regardless of the category!
• Incomplete applications will not be accepted.
• As soon as we have received all necessary documents, entrants will receive an email confirming their participation.
• All submissions are archived, with the participation the applicants accept the archiving.
• In the interest of all participants, the entrant (or a representative chosen by the entrant) should be reachable at the address stated on the application form.
• The prize winners guarantee that they will be present at the award ceremony on 23.11.2019 in order to receive their awards in person.
• If a work wins a prize, the material that was submitted will be used in the catalog, on DVD, CD, and/or the ZKM website. Therefore, we request participants to take great care in preparing the sound, image, and text material.
• The registered work should clearly make use of electronic/technical means. At least the use of electronic means should be documented.
• The awardees obligate themselves to realize the works produced within the framework of the award during a residency at the ZKM | Hertz-Lab or at the SWR Experimentalstudio respectively. The duration of the residency should not fall short of eight weeks at the ZKM or two to four weeks at the SWR Experimentalstudio respectively.
• The project proposal can be modified to match the production resources available at the ZKM | Hertz-Lab or the SWR Experimentalstudio.
• Works that do not comply with the above requirements will be removed from the competition and not presented to the jury!


 CALL FOR SCORES 2015 – Cello and Contrabass
Summary:Electroacoustic Call
Deadline: None
Date Posted: 20 May 2015
Details: 1. Call for Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape")

2. Call for "tape" pieces that have explicit political meaning

Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape")

Composer/performer Rodney Waschka II is looking for works for narrator or actor or speaker and electronic music fixed on two channels. Works will be considered for performance on the Arts NOW Series and elsewhere. You can read a review ( by the Classical Voice of North Carolina of a concert of this type of music performed in February, 2009. Waschka has performed works by Alden Jenks, Pertti Jalava, Mansoor Hosseini, Stephen Pope, Allen Strange, Pauline Oliveros, Mara Helmuth, and others.

If you have composed such a piece or are interested in composing such a work, please contract me.

"Tape" pieces that have explicit political meaning

Pieces of this type are needed for programming for the Arts NOW Series.

Please contact me if you have a piece that you think might be appropriate.