Commissioning Music: a Basic Guide

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a w o o S ho ll erf la ee as un he he nstr F C pe C Gr fro bl t compos pe A U compos t I P on The mat P com al K mind. B To com C Schedule of Fees These tables are intended as a basis for negotSiation.T MeetA The NComposDer doAes noRt act asD agen t, manFagEer, orE legal S counsel. Composers and commissioners should seek legal counsel and investigate market rates for commissions in their own areas.

The figures represent the current range of fees based on Meet The Composer’s research. Emerging composers receiving their first commissions may accept lower fees, while a number of highly marketable composers demand much higher rates. All fees are negotiable. There is a composer for every commissioning budget.

The figures do not include costs for music copying, musicians, production, or recording, which are assumed by the commissioning party or performers.

Copying costs vary widely and many composers make use of notation software to do their own copying. Even if this is the case, copying costs should be paid to the composer in addition to the commissioning fee. Costs are estimated in a variety of ways: by measure, by page, by number of staves or systems on a page, etc. A good rule of thumb is to assume 30 measures per minute of music then multiply by the per-measure costs below.

• Piano solo or w/one or two inst. $1-3/measure • Choral $3-4/measure • Small Chamber Ensemble $3-4/measure • Large Chamber $4-5/measure • Orchestra $5-10/measure • Instrumental Parts $.15/measure (multiply again by the number of instruments and add to the cost of the full score)

Concert Music and Jazz Income from repeated performance of concert works is spe cu la tiveC. MostO compNosers CdepenERT/d primarily on commJAZissions. Z

Instrumentation Under 10’ 10-25’ Over 25’ Solo or Duo $2,000-4,500 $3,000-14,000 $8,000-18,000 Piano Solo or Duo with instrument or voice $2,500-6,500 $5,000-13,000 $9,000-26,000 Tape or Electronic Solo $2,500-10,500 $7,000-21,000 $12,000-32,000 Trio or Quartet $4,000-10,000 $6,000-22,000 $12,000-32,000 Ensemble of 5 to 10 $5,000-13,000 $7,500-23,000 $17,000-32,000 Chorus $4,000-14,500 $6,500-25,000 $14,000-35,000 Small Chamber or Jazz Orchestra or Band $6,000-14,000 $10,000-26,000 $17,000-31,000 (10-22 players) Large Chamber or Jazz Orchestra or Band $8,000-19,000 $10,000-42,000 $22,000-58,000 (22-40 players) Full Orchestra $9,000-24,000 $13,000-60,000 $28,000-95,000 Concerto or chorus: Add 20-30% When solo voice or a substantial electronic part is included in any of the above ensembles, add 20- 30% to the indicated fee.

Theater Commission fees, royalties, and box-office share are all negotiable, and are treated dTifferenHtly foEAr theater, oTERpera or dance (as described below). Fees paid up front are balanced against future income from performance, recording, or broadcast of the commissioned work.

The fees suggested are for the creation of original music only. If a composer also acts as sound designer and/or music director, separate or additional fees should be negotiated.

Music for Theater The following range of commission fees depends on the amount of music needed. Individual composers may accept less or command more. In addition, for shows with indefinite runs, royalties are generally paid per performance.

Regional Company $3,000-10,000 Off Broadway $3,000-6,000 Broadway $5,000-12,000 Musical Theater An advance against royalties may be negotiated, up to $10,000 or more for an experienced musical theater composer. The royalty is a negotiable percentage of box office. Dramatists Guild contracts with Broadway producers and theater specify that Author (the composer, book-writer, and lyricist are collectively referred to as “Author”) receive 4-1/2% pre- recoupment (until producers recoup their investment), and 6% post-recoupment. In Off-Broadway and regional theaters, it is not uncommon for Author to receive 6%, with 1-2% increase after recoupment in for-profit productions. Royalties in non-profit theaters generally work the same way. How the Author royalty is split, as well as rights for any future exploitation of the work are usually covered in collaboration agreements. A growing number of productions pay royalties in a “royalty pool” scheme rather than the percentage of box office. These complex schemes vary widely and are designed to protect the interests of the producers and investors. Composers should consult the Dramatists Guild or an experienced attorney before agreeing to any royalty pool arrangement.

Opera Because revivals of new operas are relatively rare, most composers rely primarily on commissionOs. PERFees depend on Athe length of the work and the kind of company offering the commission. Librettist fees are separate and range from 20% of the composer's fee to a fee equal to the composer's. Librettists also receive a portion—traditionally half―of any royalties for the work. The fee and royalty arrangements should be negotiated separately through a collaboration agreement. Contact Meet The Composer or Volunteer Lawyers for the Arts for more information.

One-Act Opera Small Company $15,000-30,000 Large Company $25,000-100,000 Full-Length Opera Small Company $40,000-100,000 Large Company $100,000-400,000

Grand rights for performances after the premiere are negotiated with the composer or publisher in one of three ways: as a flat fee for the run; based on the number of seats in hall; or as a percentage of box office gross income.

Dance Consult Concert Music and Jazz table under anticipated instrumentation. The prospect of granDANd rights income mCay inEduce composer to accept reduced fees to compose for dance. Choreographer fees are separate and vary widely: see Meet The Composer’s Composer/Choreographer Handbook.

Film and Broadcast Music Film and television composers must be capable of organizing every aspect of production and providing fFinisheILd tapeMs on very tight schedules. Composer must think carefully about what future their work may have, because the initial fee varies considerably depending on what rights the composer retains to income from the music. Money received up front may not be as important as retaining copyright ownership, for instance, or the exposure a project will bring. What follows is only an outline of general practice in a complex field. Prospective film and television composers should consult colleagues for more detail, and engage an experienced entertainment lawyer or agent in negotiating with studios and producers.

Film Composer’s fee can be either a negotiated figure or part of a “package”—that is, the portion of the music budget remaining after paying musicians, producing a soundtrack, and buying rights to existing music. Music budgets range from 1% to 10% (usually 3-5%) of overall budget, amounting to $1,000-$1,000,000 depending on the kind of film. In studio films, composer works “for hire” as producer “buys out” all rights to music. With independent films and documentaries composer can often negotiate certain rights in exchange for a lower fee. Credits as performer, orchestrator, and leader allow composer to receive a package of benefits through the American Federation of Musicians. Screenings in the United States do not produce composer royalties, but for broadcast on television and screenings abroad, the performing rights societies collect licensing fees for their member composers-—which can amount to a considerable income if composer has retained publishing rights.

The following ranges indicate typical net composer fees, depending on film budget, rights retained, and composer’s prestige. A composer seeking exposure may accept less.

Major Studio Film $50,000-300,000 Independent Film $5,000-125,000 Documentary $2,000-30,000 TV Film $15,000-75,000 Television As in film, composer’s fee is usually negotiated as part of a “package”—theT portELEVion of the music budgISet remaiIOning afterN paying musicians, producing a soundtrack, and buying the rights to music. Performing rights societies pay composer royalties on “performances” (broadcasts)—more for networks and cable, less for public television. Credits as performer, orchestrator, and leader allow composer to receive a package of benefits through the American Federation of Musicians. The following ranges represent what a composer typically nets. A composer seeking exposure may accept less.

Network Cable Public 30-minute series $2,000-6,000 $1,500-3,000 $1,250-2,500 episode 60-minute series $8,000-25,000 $4,000-8,000 $3,000-5,000 episode

Commercials and Logos Music production houses employ composers “for hire” and hold all rCOMMERCIALights to their music. Many composers now function independently in order to retain their rights. Composer’s Creative Fee is 25-50% of the overall music budget. Performing rights societies do not effectively log broadcast of commercials, so composer’s future income depends on royalties as composer, paid by producer or broadcaster and American Federation of Musicians recording payment as performer, arranger, or leader. The longer the musical content is likely to be used in one version, the higher the Creative Fee should be. The following ranges represent what a composer typically nets. A composer seeking exposure may accept less.

Regional Commercial $1,000-6,000 National Commercial $3,000-25,000 Logo (Corporate/Product Identity) $5,000-50,000 Industrial Film $3,000-15,000

Sampling and Copyright

Many composers, working in all styles and genres, now make extensive useS of saAmplingM and sampliPngL technIoNGlogy. There are important copyright issues involved in the use of sampled material. Composers and potential commissioners should consult the Volunteer Lawyers for the Arts Guide to Copyright for Musicians and Composers. This guide is available from Meet The Composer.

Resources Organizations offering information about commissioning, fees, anRd composerE Sincome.OURCES American Society of Composers, Authors, and Publishers Society of Composers and Lyricists (for film and television) (ASCAP) 400 South Beverly Drive, Suite 3214 1 Lincoln Plaza Beverly Hills, CA 90212 New York, NY 10023 (310) 281-2812 | www.thescl.com (212) 595-3050 | www.ascap.com Meet The Composer, Inc. Broadcast Music Incorporated (BMI) 75 Ninth Avenue, Floor 3R Suite C 320 West 57th St. New York, NY 10011 New York, NY (212) 645-6949 | www.meetthecomposer.org (212) 586-2000 | www.bmi.com ThisVol guuindteee wr Lawas pyrodersuc fored th bey ArMtees (lt ow-Theco Cstompos legal advier, cIne c.for an artid stiss) rd th SESAC, Inc. avai1la Eablest a 5t3 no St c.ha, 6rg Feloo onr our website or by mail. If quoting any 55 Music Square E. Nepaw rYot ofrk, t hNYis gu 10id02e2 please credit Meet The Composer Nashville, TN 37203 (212) 752-6575 | www.vlany.org (615) 320-0055 | www.sesac.com appropriately. If you found this guide useful, won't you consider donating? Dramatists Guild, Inc. (for theater and musical theater) Your donation can ensure that Meet The Composer's 1501 Broadway, Suite 701 publications and programs continue to enhance the careers of New York, NY 10036 (212) 398-9366 | www.dramaguild.com composers and the resources for new music worldwide. Meet The Composer, Inc. 75 Ninth Avenue, Floor 3R Suite C New York, NY 10011 212.645.6949 | www.meetthecomposer.org Created with OpenOffice.org