One of our newer composers had some questions about performance royalties, so our resident PRO guru stepped in with advice for composers and conductors.
By Abbie Betinis
What is a PRO and what do they do for composers?
People don’t always realize that purchasing a composer’s sheet music doesn’t automatically
include the right to play or perform it in public. That license comes from Performing Rights Organizations (PROs). PROs collect performance royalties on behalf of copyright holders and quietly deposit them into composers’ bank accounts. To us, they are the Santa Claus of the music industry. (“Psst! You got your music played, so here’s some money! Now be good again next quarter, I’m watching….”)
What are some examples?
In the United States, the big PROs are ASCAP, BMI, and SESAC. US-based composers choose one of these organizations to represent their performance interests, and most of us stay members for life. Most other countries only have one PRO for all their composers. PROs around the world work together to get their members paid for national and international performances. You may have heard of some of the other big ones: GEMA (Germany), JASRAC (Japan), PRS (United Kingdom), SACM (Mexico), SOCAN (Canada), and more.
PRO TIP:
A performing ensemble may not need to join all three US-based PROs at once if you happen to only be performing music by, say, ASCAP members. Search for your composers and publishers on Songview (songview.com) to determine which PRO represents them.
Does my performance need to be licensed?
Let’s find out! Your live concert performance needs to be licensed only if ALL of these are true:
If you answered “all of the above,” your next step is to ask your venue or presenter if they have already secured the required licenses or are willing to license your performance for you. Many concert series, festivals, universities, and other venues hold a “blanket license” with each PRO. All you may need to do is give them a copy of your concert program, and they’ll handle the rest. Done!
Okay, my concert does need to be licensed. What’s my next step?
Don’t fear! You’re about to become a hero to composers everywhere. If your performing ensemble is based in the US, set up accounts with ASCAP, BMI, and SESAC and report your programming to them. Each PRO will invoice their fee. If you are based outside the US, contact the PRO in your country. You don’t need to make accounts with every composer’s PRO, just the one(s) in your own country.
PRO TIP:
Graphite Publishing is a member of ASCAP. We also distribute scores by composers and publishers who are ASCAP, BMI, and SESAC members.
What will it cost?
Rates vary based on how much licensable music you perform, where you perform it, and whether you charge admission. The PROs may ask for information about your ticket revenue and venue’s seating capacity. College and university rates are based on the number of full-time students. ASCAP and BMI have general rate guides on their websites and helpful staff to answer questions.
Does the money really get to the composers?
Yes! Royalties are divided between composers, arrangers, poets, and publishers. Some of the fees are retained by the PROs, but not much. Last year, ASCAP reported that it distributed 90% of its income to its members. BMI distributed 85%.
My performance is exempt from reporting. How will the composer get paid?
The absolute best thing you can do is to report your performance directly to the composer. PROs have ways to pay us for exempt performances if we report them ourselves. For instance, ASCAP member composers apply annually to receive a special grant called the ASCAP Plus award. We submit a summary of our musical activities, and ASCAP’s grant panel determines how much extra cash should come our way for our efforts.
I’m a composer. How do I get in on this cash?
ASCAP and BMI have recently made membership free, so study up and join a PRO right away. Consider reaching out to composer friends who are PRO members to ask about their experiences. You’ll be asked to keep a catalog of works up to date so they can match your titles with performances. It’s not just live concert performances, either. This is how you get paid for all public performances, including radio, TV broadcasts, digital service providers, and many other means.
PRO TIP:
If you’re a composer who also self-publishes your sheet music with ASCAP, make sure to join a PRO as both a composer member and a publisher member! You will earn much more of your royalty splits. Self-publishing composer members of BMI don’t need to take this extra step.
I’m a performer. Is there a way for me to get royalties for performances?
The industry assumes (not always correctly) that as a performer, you are already getting paid up front for your live performance. That said, there is another way for you to get royalties for your publicly available recordings. Head over to SoundExchange (soundexchange.com) to search your performing ensemble’s name and find out if they are trying to match you with cash for your Digital Performance Royalties.
How did I not know about this before?
Don’t worry—you know about it now! Very few schools teach or talk about copyright and licensing. It’s up to all of us to spread the word and to keep our music ecosystem strong.
“It’s hard to reach out and ask for all the performance information, and sometimes conductors can be annoyed with this! But my performance royalty checks increased dramatically when I started doing this, and it’s worth the time to submit all the performances you can.”
— an anonymous Graphite composer
Abbie Betinis creates music called “inventive” (New York Times) and “incandescent” (Boston Globe). A two-time McKnight Artist Fellow with an “ability to use her talents to effect social change” (Musical America), she has taught composition at St. Olaf College, Concordia University-St Paul, and at EAMA’s Summer Institute in Paris, France.
