Online composition lessons and guidance.

No. What matters is not your level, age or institutional background, but whether you take the music seriously, and are willing to listen, revise and think carefully about it.

Yes. You can begin with a single page, a short audio recording, a MIDI file or a question. A small concrete starting point is usually more useful than a long description.

No. Lessons can be ongoing, occasional, project-based or connected to a specific piece, question or deadline. We agree on a frame that fits what you are working on.

Online lessons usually take place on Zoom. We can share the score on screen, listen, mark passages directly with a digital pen, compare alternatives and discuss revisions in detail.

When I annotate a score during the lesson, the edited PDF can be sent to you afterwards. It often becomes a useful working document between lessons.

Yes. A single feedback session on a piece, sketch, recording or portfolio is a legitimate way to begin. Not everyone who contacts me needs ongoing lessons immediately.

Yes. For applicants to music academies, conservatories or talent-development programmes I can look through your portfolio and help you understand what it currently shows, what may be missing, and what should be revised before a deadline.

When the music asks for it. Harmony, counterpoint, analysis, orchestration and notation are not separate school subjects beside composition — they are ways of understanding what the music is doing and why a technical choice changes the listener’s experience.

Yes. In-person lessons are possible in Copenhagen, usually in Frederiksberg, which is very central. Most students work online so we can use detailed score-sharing and annotation tools, but in-person sessions can be arranged when it makes sense.

I do not publish a fixed price, because no two students need quite the same thing — lesson length (30, 45 or 60 minutes), level, and how much follow-up you want all play a part. When you write, I will send you a clear and concrete offer for your own case, within a day.

And I can promise you it will be affordable. Composition is not learned in a month: students need to be able to come back regularly, and I would feel wrong charging prices that make that impossible.

Short clarifications by message or email are possible when they help keep the work moving. I do not count messages mechanically, but if extra material becomes substantial we agree on a clear frame in advance.

Young people make up about 90% of my students. I am also very experienced with children, which is unusual in score-based composition, and it matters a great deal to me to prove that it can be done.

Yes. I have a great deal of experience teaching students with diagnoses, and the institutions I work in put real care into making room for it. I have worked closely with students with severe autism, and for some, composition has become a way forward — a place where the work, not the diagnosis, is what matters.

I have taught several students who wrote pop music. It can make good sense if you want to widen your palette with new colours, bring in classical instruments, or talk through how your own voice could grow more nuanced. But I do not teach songwriting itself — not because I cannot, but because it is not a specialty of mine, and if you were starting from nothing there, I could not give you the right motivation or expertise. For songwriters who are searching artistically, though, I have had good experiences building a bridge into the classical and experimental side.

Progress is in direct proportion to the time you put into the work. As a rule, within six months we can shape a first piece ready for public performance — and I have found this possible even with the slowest and most difficult students.