Music Publishers
The music publisher is supposed to find great songs and bring them to producers and record company A&R representatives in order to get them recorded. To perform these functions, the publisher should be open to working with and developing songwriters and ought to have many connections with possible recording situations.
We are couching this explanation in such skeptical language as "supposed to," "should be" and "ought to" because many people who call themselves music publishers don't perform the traditional publishing functions. Some publishing companies are actually one-man operations who have few or no connections with the mainstream music business and who seem to want to collect copyrights for the sheer number they can accrue. Other publishing companies are multinational conglomerates that behave more like banks than creative entities. A good publisher who will actually work with you and can get recordings of your songs is a very rare find indeed.
FUNCTION OF A MUSIC PUBLISHER
After the recording on your song has been secured, the publisher functions as the copyright administrator. That means the publisher does all the paperwork involved in securing ownership in and collecting income from the song. If you have not already registered the song with the Copyright Office, the publisher will do that. The publisher issues mechanical licenses -written permissions to record the song that delineate specific payment per record sold. The publisher negotiates and issues synchronization licenses - permission to synchronize the song to film and the amounts to be paid for the use of the song with the film. The publisher arranges for the song to be made into sheet music, usually with another publisher that specializes in print. The publisher collects money from all these sources and then gives you whatever percentage you have agreed to in your contract. The only money that comes directly to you as the songwriter is the performance royalty from ASCAP, BMI or SESAC.
All of the above administrative chores are paperwork, not unlike paper- work in any business. They are not magical rituals. The paperwork can be learned and there are plenty of people who will help at various music business organizations, such as ASCAP, BMI, SESAC and the Harry Fox Agency, an organization that collects mechanical royalties for publishers. The key is to be able to make the connections for your songs. If you can do that, you can be your own publisher and hire a lawyer to do any fancy negotiations that come up. You can even hire a publishing company to do the administrative work (paperwork) for you for a small percentage of the income generated.
However, even some of the most successful writers, who certainly don't need their publishers for credibility, say their publishers are essential to them. For the un-established songwriter, a publisher is often the only person who will listen and could be instrumental in getting the break you need. Once you have your songwriting foot in the door, you can decide for yourself whether you need to continue with a publisher or have enough clout and connections to do your own song plugging.
If you want to know more about music publishing, read Music Publishing. A Songwriters Guide by Randy Poe (Writer's Digest Books).
SELECTING THE PROPER PUBLISHER the more accurately you aim your submission, the better your chances some- thing will happen with your song. To make an informed pitch, you need to study the market. Which artists could sing your song and fit its message and feel perfectly? Do they sing outside songs or do they only record their own or their producers?Who published the songs on their latest albums? What record label are they signed to? Does that label have an affiliated publishing company? Who are the hottest publishers around and why are they hot?
Most of this information can be easily found in any issue of Billboard, the magazine that covers the music business and publishes charts of the best selling and playing records each week. More information can be found on the record labels. The current Songwriter Market (Writer's Digest Books) contains helpful marketing/submission information about the publishers and producers listed therein. Look for the size and age of the company, the field of music specialty and any recognizable song credits.
Billboard also reports on the movements of music business executives, including publishing personnel. You may want to pursue people who are new on the job because they will be open to new connections.
If, after studying the situation carefully and choosing your target publisher, you are told in no uncertain terms that they do not accept unsolicited tapes, don't give up. Publishers are reacting to a wave of nuisance lawsuits. They need to know that you are not just another lawsuit waiting to happen.
Contact a songwriter organization or performance rights organization and find someone who knows someone at the publishing company you are trying to reach. You may be able to get your tape through a crack in the door if you use a reference from someone the publisher trusts.
WHAT THE MUSIC PUBLISHER WANTS FROM YOU: THE SUBMISSION PACKAGE
Most of all, the music publisher wants a hit song from you and no amount of fancy packaging can make the song on the tape a hit. But few professionals will even listen to your tape if you send it as an unsolicited submission. First, you should get permission by phone to submit a tape. Here is a sample script for your phone conversation:
Publisher. Mega Music
Song Writer. Paula Goodears, please. Publisher. Who's calling, please? Songwriter. Wendy Writinhitz
Publisher. Does she know what this is about?
Songwriter. Bob Bender at BMI told me to give Paula a call about showing her some of my songs.
Publisher.- Paula does not listen to unsolicited tapes.
Songwriter.- Bob said to tell Paula that he recommended me. I've been a member of BMI for many years and he's familiar with my work.
Publisher. All right, you can send the tape.
Songwriter. Shall I put something special on the outside of the envelope so you can distinguish it from an unsolicited tape?
Publisher. Yes, put "Attention: PG"
Songwriter.- Thanks a lot. What's your name? Publisher. Joan.
Songwriter. Thanks, Joan.
Once you have obtained permission, making your tape submission package easy to get into and handle will put the publisher in a receptive mood. A sloppy package will make the publisher want to trash the tape before giving it a listen. So, give your song the best shot it can get by wrapping it in a neat, clean, professional looking submission format.
The Outer Envelope The first thing the publisher sees is your envelope. Since many publishers are not accepting unsolicited material, what is written on your outer envelope can make the difference between getting it heard and getting it returned unopened. When you make your query phone call to the publisher, as in the sample script above, ask if there is some special notation you should put on the outer envelope. They may give you a specific person's name at the publishing company or a type of song or particular artist they are currently searching for. Examples are "Requested material for Madonna" or "R&B/pop female artist."
Be sure you note the name of the person you speak to in your initial call. Secretaries and assistants are your key for getting through the doors of the decision makers. You might be able to strike up a relationship with the people in the outer office that can lead to a relationship with the executives in the inner offices. Here are a few tips on creating the right look for your envelope:
1. A printed return address looks more professional. If you don't have letterhead stationery and matching envelopes, purchase printed return address labels.
2. Don't be afraid to use colored envelopes. The music business is creative and more informal than some other businesses and professional listeners appreciate the variety.
3. Use a business-size (#10) envelope and secure the flap with a small piece of tape. Don't frustrate the listener by making your package impossible to open by surrounding it with tape.
4. Always send your tape submissions via first-class mail. Registered or certified mail will probably be refused. Weigh your package and affix sufficient postage.
To SASE or Not to SASE the decision about whether to send a self-addressed, stamped envelope or not is a personal choice. If you do include one, you are giving the publisher the message that you want your tape back, that the publisher will probably reject the song. Even if you do include an SASE and the publisher does reject the song, chances are you will never get a response and your tape will not be returned. In that case, you have lost not only the expense of the tape, but also the cost of the SASE. On the other hand, if you do not include an SASE, there is the slimmest chance that the publisher will pay for the return postage.
If you send an SASE, make sure it is large enough to hold all of the material you want returned and has enough postage on it to cover the return of your entire package. In other words, the SASE should have as much postage on it as the outer envelope does.
the Cover Letter Keep your cover letter brief and friendly, yet business- like. The music business is more informal than many other businesses. In fact, ultimately the music business is built on personal relationships. If there is some way to briefly make you stand out as a person, not just another tape in the pile on the listener's desk, without being obnoxious, do it.
Mention the reason why you are pitching this particular song to this particular publisher at this particular time. This will show the publisher that you have done your homework. Since you have called ahead to get permission to submit the material, include the name of the person you spoke to.
Mention the song title. Include any information that might give the song and you more credibility. Let the publisher know if you or the song has received any recognition, such as winning an award in a songwriting contest. If you are an artist or member of a band, mention that, because more and more publishers want to become involved with the writers who are more than writers. If you have been performing locally to enthusiastic audiences, be sure to tell the publisher. Also, if another artist or band performs the song, briefly state that information and any success related to it, such as "This song was cited as the best crowd pleaser in their set by John Smith, music reviewer for the In town Reporter."
Here are more pointers for developing your cover letter:
1. Use letterhead stationery for a more professional look. If you don't have letterhead, use good quality twenty-pound bond 8V2' x I l' paper. Do not use erasable paper, paper torn from a notebook or cutesy novelty stationery.
2. Color coordinates your stationery and envelope.
3. Don't tell your life story, but do give pertinent information about your
songwriting experience in a few brief sentences.
4. Your cover letter should be no longer than one sheet of paper.
5. Thank the listener for the opportunity to have your song heard.
The Demo Tape
Cassette tapes are the most widely preferred medium for song demos. It is vitally important that you put all your identifying information on the cassette label. Parts of submission packages often get separated from each other and publishers are left wanting to use songs by songwriters they cannot find. Don't let your cassettes leave home without the following information permanently on the printed label:
1. Song title -does not have to be punctuated
2. Your name or your company name
3. A phone number, complete with area code
4. The copyright notice
Whether or not you send the cassette in its plastic case is your choice. On one hand, it makes the package too bulk to fit into a #10 business envelope; on the other, it can add protection to your tape as well as the chance to include an 0-card or J-card.
That's all you need! Popular song publishers are not interested in bios, queries by mail or reply cards. They just want to get into your package fast, pop your cassette tape into their tape decks, be knocked out by the first two lines of your song and have their interest kept up right to the last note.
Use the checklist below so that you don't forget anything before you send off your submissions.
- Outer #10 business envelope, flap secured with a two-inch piece of tape
- Cover letter, one page
- Lyric sheet,
- Demo cassette tape, without plastic case
- SASE #10 with sufficient postage (optional)
Trying to find out what happened to your tape after you sent it is a challenge. You will have to walk a tightrope between being persistent and obnoxious; try not to fall on the latter side. This second call is where your noting the name of the person who answers the phone will come in handy. Just knowing the name and referring to a previous conversation will give you the beginning of a history with this person.
After sending off your tape, wait at least a month before making your follow-up call. Below is a sample script for the follow-up call.
Publisher.- Mega Music
Songwriter. May I speak to Paula Goodears? Publisher. Will she know what this is about? Songwriter. Is this Joan?
Publisher. Yes. (If it's not Joan, ask for her. You're trying to build a relationship. If she's not available, ask when you should call back; she probably won't call you. If she no longer works there, or if she's not available and you find out that someone else can handle your call just as well, start building a relationship with the new person.)
Songwriter. Hi, Joan. This is Wendy Writinhitz. We spoke, about a month ago and I sent a tape to Paula marked "Attention: PG." I'm calling to make sure she received the tape. (If you're dealing with the new person,
say: I spoke to Joan last month and she instructed me to send a tape to Paula, etc.)
Publisher.- Yes, she has the tape, but she's been out of town and she hasn't had a chance to listen to it.
Songwriter. When do you think she might have the chance? Publisher. I can't say.
Songwriter. I understand. Well, how about I call back in another couple of weeks? Will she be in town on the week of the 20th?
Publisher. Yes.
Songwriter. Well, thanks a lot, Joan. Talk to you later.
Note: There are some publishers who specialize in developing writer/artists. If you are an artist who records your own songs, it is a good idea to find this kind of publisher. This is another situation entirely and your submission package in this case would be far more extensive. In addition to the basic song submission items listed above, it would include a photo, bio, business card and copies of any favorable articles written about you. For the submission to a publisher who develops writer/artists, follow the instructions in the section in chapter seven entitled "The Record Producer and the Songwriter." For more information on a dual career as a writer/artist, consult Singing for a Living by Marta Wood hull (Writer's Digest Books).
PRINT PUBLISHERS As stated previously, your popular song will not be considered for print publication unless and until it is on the charts. There are other types of songs or musical compositions, however, that go straight from your pen to printed music: band, orchestra and choral pieces. These forms of printed music are sold to schools and churches by publishers who specialize in those markets.
Unlike popular song publishers, choral, religious and educational print music publishers do want to have a fully written arrangement included in your song submission package. This differs from the lead sheet because it contains even more information than you would give a popular song producer. A print music publisher needs to have every note of the arrangement down in black and white. The arrangement must be clear and complete. The best way to do that is to make sure that each part of the arrangement is lined up exactly above or below the other parts that should be sung or played at the same time.
The Choral Arrangement When submitting a choral piece to a print publisher, you must have a tape of the piece being performed by singers in the age group (grade school, high school, adult) to which the publisher would market the arrangement. This will
demonstrate to the publisher that the notes in your arrangement are within the singing range of that age group. In addition, you need to submit the written vocal choral arrangement. It does not have to have the piano part written out.
To find out which print publishers specialize in the type of choral arrangement you have written, do some research at your local sheet music store. Look for material similar to your composition and direct your submissions to that publisher. The sheet music will usually have both the name and address of its publisher on or inside the front page. If only the name is there, the people at the sheet music store can look up the address for you. Your inquiries and submissions should be made to someone on the choral publisher's editorial staff. Call ahead to get a specific name to use in your submission.
Your local music store will have examples of printed choral arrangements.
Marching Band and Orchestra Arrangements Instrumental arrangements for high school marching and jazz bands and college or community orchestras have a larger market than most songwriters ever consider. It is an ancillary market that songwriters with composing skills should not overlook.
To find out which publishers deal in the educational sheet music markets, you could ask music teachers about the publishers of the sheet music they use for band and orchestral music. Or you could contact the Music Educator's National Conference (MENC), 1806 Robert Fulton Drive, Reston, Virginia 22091-4348. The phone number is (703) 860-4000. Ask for their publication Voices of Industry by Sandy Feldstein, which has a chapter on how to locate and submit to educational sheet music publishers. MENC, a membership organization of music teachers, publishes two magazines, Music Educators Journal and Teaching Music, in which you can advertise your sheet music for sale.
Submissions to potential print publishers may be made in the same format as submissions of choral arrangements to print publishers. When submitting an arrangement for a marching band, remember that they need the piece to be in 4/4, 2/4 or 6/8 time; it's difficult to waltz down a football field!
All of the instruments must be lined up exactly above or below each other on a full score lead sheet. Do not send the individual pieces of music that each musician reads. Again, the publisher will want to hear a taped performance of the arrangement by your high school band, community orchestra, etc.
The cover letter should be similar to the one used for a choral arrangement submission, with the minor change that instead of a choir, you cite the band or orchestra that performed the piece.
The music publisher is supposed to find great songs and bring them to producers and record company A&R representatives in order to get them recorded. To perform these functions, the publisher should be open to working with and developing songwriters and ought to have many connections with possible recording situations.
We are couching this explanation in such skeptical language as "supposed to," "should be" and "ought to" because many people who call themselves music publishers don't perform the traditional publishing functions. Some publishing companies are actually one-man operations who have few or no connections with the mainstream music business and who seem to want to collect copyrights for the sheer number they can accrue. Other publishing companies are multinational conglomerates that behave more like banks than creative entities. A good publisher who will actually work with you and can get recordings of your songs is a very rare find indeed.
FUNCTION OF A MUSIC PUBLISHER
After the recording on your song has been secured, the publisher functions as the copyright administrator. That means the publisher does all the paperwork involved in securing ownership in and collecting income from the song. If you have not already registered the song with the Copyright Office, the publisher will do that. The publisher issues mechanical licenses -written permissions to record the song that delineate specific payment per record sold. The publisher negotiates and issues synchronization licenses - permission to synchronize the song to film and the amounts to be paid for the use of the song with the film. The publisher arranges for the song to be made into sheet music, usually with another publisher that specializes in print. The publisher collects money from all these sources and then gives you whatever percentage you have agreed to in your contract. The only money that comes directly to you as the songwriter is the performance royalty from ASCAP, BMI or SESAC.
All of the above administrative chores are paperwork, not unlike paper- work in any business. They are not magical rituals. The paperwork can be learned and there are plenty of people who will help at various music business organizations, such as ASCAP, BMI, SESAC and the Harry Fox Agency, an organization that collects mechanical royalties for publishers. The key is to be able to make the connections for your songs. If you can do that, you can be your own publisher and hire a lawyer to do any fancy negotiations that come up. You can even hire a publishing company to do the administrative work (paperwork) for you for a small percentage of the income generated.
However, even some of the most successful writers, who certainly don't need their publishers for credibility, say their publishers are essential to them. For the un-established songwriter, a publisher is often the only person who will listen and could be instrumental in getting the break you need. Once you have your songwriting foot in the door, you can decide for yourself whether you need to continue with a publisher or have enough clout and connections to do your own song plugging.
If you want to know more about music publishing, read Music Publishing. A Songwriters Guide by Randy Poe (Writer's Digest Books).
SELECTING THE PROPER PUBLISHER the more accurately you aim your submission, the better your chances some- thing will happen with your song. To make an informed pitch, you need to study the market. Which artists could sing your song and fit its message and feel perfectly? Do they sing outside songs or do they only record their own or their producers?Who published the songs on their latest albums? What record label are they signed to? Does that label have an affiliated publishing company? Who are the hottest publishers around and why are they hot?
Most of this information can be easily found in any issue of Billboard, the magazine that covers the music business and publishes charts of the best selling and playing records each week. More information can be found on the record labels. The current Songwriter Market (Writer's Digest Books) contains helpful marketing/submission information about the publishers and producers listed therein. Look for the size and age of the company, the field of music specialty and any recognizable song credits.
Billboard also reports on the movements of music business executives, including publishing personnel. You may want to pursue people who are new on the job because they will be open to new connections.
If, after studying the situation carefully and choosing your target publisher, you are told in no uncertain terms that they do not accept unsolicited tapes, don't give up. Publishers are reacting to a wave of nuisance lawsuits. They need to know that you are not just another lawsuit waiting to happen.
Contact a songwriter organization or performance rights organization and find someone who knows someone at the publishing company you are trying to reach. You may be able to get your tape through a crack in the door if you use a reference from someone the publisher trusts.
WHAT THE MUSIC PUBLISHER WANTS FROM YOU: THE SUBMISSION PACKAGE
Most of all, the music publisher wants a hit song from you and no amount of fancy packaging can make the song on the tape a hit. But few professionals will even listen to your tape if you send it as an unsolicited submission. First, you should get permission by phone to submit a tape. Here is a sample script for your phone conversation:
Publisher. Mega Music
Song Writer. Paula Goodears, please. Publisher. Who's calling, please? Songwriter. Wendy Writinhitz
Publisher. Does she know what this is about?
Songwriter. Bob Bender at BMI told me to give Paula a call about showing her some of my songs.
Publisher.- Paula does not listen to unsolicited tapes.
Songwriter.- Bob said to tell Paula that he recommended me. I've been a member of BMI for many years and he's familiar with my work.
Publisher. All right, you can send the tape.
Songwriter. Shall I put something special on the outside of the envelope so you can distinguish it from an unsolicited tape?
Publisher. Yes, put "Attention: PG"
Songwriter.- Thanks a lot. What's your name? Publisher. Joan.
Songwriter. Thanks, Joan.
Once you have obtained permission, making your tape submission package easy to get into and handle will put the publisher in a receptive mood. A sloppy package will make the publisher want to trash the tape before giving it a listen. So, give your song the best shot it can get by wrapping it in a neat, clean, professional looking submission format.
The Outer Envelope The first thing the publisher sees is your envelope. Since many publishers are not accepting unsolicited material, what is written on your outer envelope can make the difference between getting it heard and getting it returned unopened. When you make your query phone call to the publisher, as in the sample script above, ask if there is some special notation you should put on the outer envelope. They may give you a specific person's name at the publishing company or a type of song or particular artist they are currently searching for. Examples are "Requested material for Madonna" or "R&B/pop female artist."
Be sure you note the name of the person you speak to in your initial call. Secretaries and assistants are your key for getting through the doors of the decision makers. You might be able to strike up a relationship with the people in the outer office that can lead to a relationship with the executives in the inner offices. Here are a few tips on creating the right look for your envelope:
1. A printed return address looks more professional. If you don't have letterhead stationery and matching envelopes, purchase printed return address labels.
2. Don't be afraid to use colored envelopes. The music business is creative and more informal than some other businesses and professional listeners appreciate the variety.
3. Use a business-size (#10) envelope and secure the flap with a small piece of tape. Don't frustrate the listener by making your package impossible to open by surrounding it with tape.
4. Always send your tape submissions via first-class mail. Registered or certified mail will probably be refused. Weigh your package and affix sufficient postage.
To SASE or Not to SASE the decision about whether to send a self-addressed, stamped envelope or not is a personal choice. If you do include one, you are giving the publisher the message that you want your tape back, that the publisher will probably reject the song. Even if you do include an SASE and the publisher does reject the song, chances are you will never get a response and your tape will not be returned. In that case, you have lost not only the expense of the tape, but also the cost of the SASE. On the other hand, if you do not include an SASE, there is the slimmest chance that the publisher will pay for the return postage.
If you send an SASE, make sure it is large enough to hold all of the material you want returned and has enough postage on it to cover the return of your entire package. In other words, the SASE should have as much postage on it as the outer envelope does.
the Cover Letter Keep your cover letter brief and friendly, yet business- like. The music business is more informal than many other businesses. In fact, ultimately the music business is built on personal relationships. If there is some way to briefly make you stand out as a person, not just another tape in the pile on the listener's desk, without being obnoxious, do it.
Mention the reason why you are pitching this particular song to this particular publisher at this particular time. This will show the publisher that you have done your homework. Since you have called ahead to get permission to submit the material, include the name of the person you spoke to.
Mention the song title. Include any information that might give the song and you more credibility. Let the publisher know if you or the song has received any recognition, such as winning an award in a songwriting contest. If you are an artist or member of a band, mention that, because more and more publishers want to become involved with the writers who are more than writers. If you have been performing locally to enthusiastic audiences, be sure to tell the publisher. Also, if another artist or band performs the song, briefly state that information and any success related to it, such as "This song was cited as the best crowd pleaser in their set by John Smith, music reviewer for the In town Reporter."
Here are more pointers for developing your cover letter:
1. Use letterhead stationery for a more professional look. If you don't have letterhead, use good quality twenty-pound bond 8V2' x I l' paper. Do not use erasable paper, paper torn from a notebook or cutesy novelty stationery.
2. Color coordinates your stationery and envelope.
3. Don't tell your life story, but do give pertinent information about your
songwriting experience in a few brief sentences.
4. Your cover letter should be no longer than one sheet of paper.
5. Thank the listener for the opportunity to have your song heard.
The Demo Tape
Cassette tapes are the most widely preferred medium for song demos. It is vitally important that you put all your identifying information on the cassette label. Parts of submission packages often get separated from each other and publishers are left wanting to use songs by songwriters they cannot find. Don't let your cassettes leave home without the following information permanently on the printed label:
1. Song title -does not have to be punctuated
2. Your name or your company name
3. A phone number, complete with area code
4. The copyright notice
Whether or not you send the cassette in its plastic case is your choice. On one hand, it makes the package too bulk to fit into a #10 business envelope; on the other, it can add protection to your tape as well as the chance to include an 0-card or J-card.
That's all you need! Popular song publishers are not interested in bios, queries by mail or reply cards. They just want to get into your package fast, pop your cassette tape into their tape decks, be knocked out by the first two lines of your song and have their interest kept up right to the last note.
Use the checklist below so that you don't forget anything before you send off your submissions.
- Outer #10 business envelope, flap secured with a two-inch piece of tape
- Cover letter, one page
- Lyric sheet,
- Demo cassette tape, without plastic case
- SASE #10 with sufficient postage (optional)
Trying to find out what happened to your tape after you sent it is a challenge. You will have to walk a tightrope between being persistent and obnoxious; try not to fall on the latter side. This second call is where your noting the name of the person who answers the phone will come in handy. Just knowing the name and referring to a previous conversation will give you the beginning of a history with this person.
After sending off your tape, wait at least a month before making your follow-up call. Below is a sample script for the follow-up call.
Publisher.- Mega Music
Songwriter. May I speak to Paula Goodears? Publisher. Will she know what this is about? Songwriter. Is this Joan?
Publisher. Yes. (If it's not Joan, ask for her. You're trying to build a relationship. If she's not available, ask when you should call back; she probably won't call you. If she no longer works there, or if she's not available and you find out that someone else can handle your call just as well, start building a relationship with the new person.)
Songwriter. Hi, Joan. This is Wendy Writinhitz. We spoke, about a month ago and I sent a tape to Paula marked "Attention: PG." I'm calling to make sure she received the tape. (If you're dealing with the new person,
say: I spoke to Joan last month and she instructed me to send a tape to Paula, etc.)
Publisher.- Yes, she has the tape, but she's been out of town and she hasn't had a chance to listen to it.
Songwriter. When do you think she might have the chance? Publisher. I can't say.
Songwriter. I understand. Well, how about I call back in another couple of weeks? Will she be in town on the week of the 20th?
Publisher. Yes.
Songwriter. Well, thanks a lot, Joan. Talk to you later.
Note: There are some publishers who specialize in developing writer/artists. If you are an artist who records your own songs, it is a good idea to find this kind of publisher. This is another situation entirely and your submission package in this case would be far more extensive. In addition to the basic song submission items listed above, it would include a photo, bio, business card and copies of any favorable articles written about you. For the submission to a publisher who develops writer/artists, follow the instructions in the section in chapter seven entitled "The Record Producer and the Songwriter." For more information on a dual career as a writer/artist, consult Singing for a Living by Marta Wood hull (Writer's Digest Books).
PRINT PUBLISHERS As stated previously, your popular song will not be considered for print publication unless and until it is on the charts. There are other types of songs or musical compositions, however, that go straight from your pen to printed music: band, orchestra and choral pieces. These forms of printed music are sold to schools and churches by publishers who specialize in those markets.
Unlike popular song publishers, choral, religious and educational print music publishers do want to have a fully written arrangement included in your song submission package. This differs from the lead sheet because it contains even more information than you would give a popular song producer. A print music publisher needs to have every note of the arrangement down in black and white. The arrangement must be clear and complete. The best way to do that is to make sure that each part of the arrangement is lined up exactly above or below the other parts that should be sung or played at the same time.
The Choral Arrangement When submitting a choral piece to a print publisher, you must have a tape of the piece being performed by singers in the age group (grade school, high school, adult) to which the publisher would market the arrangement. This will
demonstrate to the publisher that the notes in your arrangement are within the singing range of that age group. In addition, you need to submit the written vocal choral arrangement. It does not have to have the piano part written out.
To find out which print publishers specialize in the type of choral arrangement you have written, do some research at your local sheet music store. Look for material similar to your composition and direct your submissions to that publisher. The sheet music will usually have both the name and address of its publisher on or inside the front page. If only the name is there, the people at the sheet music store can look up the address for you. Your inquiries and submissions should be made to someone on the choral publisher's editorial staff. Call ahead to get a specific name to use in your submission.
Your local music store will have examples of printed choral arrangements.
Marching Band and Orchestra Arrangements Instrumental arrangements for high school marching and jazz bands and college or community orchestras have a larger market than most songwriters ever consider. It is an ancillary market that songwriters with composing skills should not overlook.
To find out which publishers deal in the educational sheet music markets, you could ask music teachers about the publishers of the sheet music they use for band and orchestral music. Or you could contact the Music Educator's National Conference (MENC), 1806 Robert Fulton Drive, Reston, Virginia 22091-4348. The phone number is (703) 860-4000. Ask for their publication Voices of Industry by Sandy Feldstein, which has a chapter on how to locate and submit to educational sheet music publishers. MENC, a membership organization of music teachers, publishes two magazines, Music Educators Journal and Teaching Music, in which you can advertise your sheet music for sale.
Submissions to potential print publishers may be made in the same format as submissions of choral arrangements to print publishers. When submitting an arrangement for a marching band, remember that they need the piece to be in 4/4, 2/4 or 6/8 time; it's difficult to waltz down a football field!
All of the instruments must be lined up exactly above or below each other on a full score lead sheet. Do not send the individual pieces of music that each musician reads. Again, the publisher will want to hear a taped performance of the arrangement by your high school band, community orchestra, etc.
The cover letter should be similar to the one used for a choral arrangement submission, with the minor change that instead of a choir, you cite the band or orchestra that performed the piece.
