| Suggested
hire fees
Charges
to professional orchestras/choirs/performers
Solo/Duo
$8–$12 per minute up to 30 minutes
$6–$9 per minute over
30 minutes
$40–$55 minimum charge
Chamber
score plus 3–9 parts (including keyboard)
$9–$15 per minute
up to 30 minutes
$8–$11 per minute over 30 minutes
$45–$65
minimum charge
Chamber
Ensemble/Orchestra
$11–$18 per minute up to 30 minutes
Score+10–20
parts: $9–$15 per minute over 30 mins
$60–$90 minimum charge
Orchestra
$17–$25 per minute up to 30 minutes
Score+25 or more parts: $11–$18
per minute over 30 mins
$80–$120 minimum charge
Orchestra
+ soloists etc.
Charge for providing vocal/piano scores
Tape
as part of performance material
$7–$10 per minute up to 30 minutes
$5–$7 per minute over 30 minutes
$35 minimum charge
Choral
material
Charge on the basis that five choral parts are equal to one
orchestral part. This is in addition to charges for orchestral parts.
Repeat
performances within two months of the initial performance
Second
performance = 50%
Third performance = 33.33%
Fourth performance = 25%
Fifth performance = 20%
Thereafter for each performance = 15%
Normal
hire period
One–two months before first performance
Postage
and Packaging
Charge costs
Charges
to amateur orchestras/performers
1 Charge
50% of professional rates
2 Normal
hire period: 3 months before first performance
3 Postage
and packaging: charge costs
Hire
fees (for the physical provision of performance materials owned
by the composer) are a separate matter from performing rights fees (see
below).
Radio
New Zealand pays hire fees for their own 'studio' recordings only;
where there are broadcasts of live concerts, the recording or recording
right is purchased from the performers or promoters on an all-inclusive
basis. The performers or promoters involved (whoever receives the
radio fee) should pay the hire fees to the composer. As with all of
these fees, composers are free to negotiate their own rates, and may
sometimes wish to provide materials or work at lower rates. We recommend,
however, that in such cases they also quote the suggested rates so
that promoters and mangers continue to be aware of proper professional
levels of payment.
Performing
rights fees (royalties)
Composers
normally assign the collection of performing rights fees to societies
such as APRA (the Australasian Performing Rights Association); it is
in the interest of any composer receiving public performances to enquire
about membership.
Contact:
APRA
Ltd
Box 6315
Auckland 1
Tel: (09) 379 0638
Fax: (09) 379 3205
Through
its links with other performing rights societies, APRA is able to collect
on performances worldwide. Its collection emphasis is on broadcast music
(via logs provided by broadcasters); for live performances composers
and/or performers will normally need to provide details.
APRA also
produces a booklet of Distribution Rules which details systems for sharing
royalties between lyricists and composers, and for arrangements of music.
APRA is not licensed to collect on stage works such as musicals, operas
and ballets, nor on choral works over twenty minutes in duration. These
are classified as "Grand Right" works and performance fees
must be negotiated contractually by the composer.
Suggested
performance fees for "grand right" works
A rough
guide only is possible here. Professional productions of stage
musicals etc. are usually charged as a percentage of the gross
box office receipts. This percentage can range from 5–20%
for full-length productions with 10––12.5%
being the more usual range. Remember, this percentage covers all the
authorial rights (script writer, lyricist as well as composer) and
in some cases it can also include the originating writer (if the work
is based on an existing literary work and the rights to use this work
have not been purchases outright), the original designer and the originating
director/theatre company.
It is
customary to ask for a deposit (an advance against box office receipts)
on granting of these rights. This can vary widely, with perhaps 1%
of the expected gross box office receipts being a reasonable figure.
Remember, rights should only ever be granted for a fixed period of
time.
With
amateur productions of stage musicals etc., it is customary
to ask for either a percentage of the gross takings or a flat fee
per performance, whichever is higher. The fee should always be asked
for in advance, and calculated at approximately 10% of the expected
gross takings.
In ballet
productions, or in concert performances of choral works longer than
twenty minutes duration, it is customary to ask for a flat fee
per performance. Such a fee should be calculated as a percentage of
the expected gross box office receipts. If your work, for example,
provides thirty minutes of a two-hour programme, then calculate the
fee as being 25% of, say, 10% of the expected gross. receipts
(i.e. 2.5%)
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