An Open Letter to Directors & Performers

Dear Directors of Ensembles and Performers,

I recently addressed composers in a blog entry about maximizing your performance royalties from ASCAP. In it, I provided basic step-by-step instructions starting with joining ASCAP and registering all of your works. The second step is to gather concert programs and performance information.

This is where you, the performers & conductors of said works,  come in.

Let me begin by saying that I wear all of these hats (composer, performer, director) and constantly have to remind myself to tell composers that I have programmed their works. I have certainly been guilty of concentrating on the upcoming concert or recital that I forgot to contact the living composer(s) represented on the program.

As a composer, I spend time each week trying to track down information about any and every performance of my works. I then contact the directors and/or performers to request a concert program. I like this process. I really do. However, with just a little bit of help from you, this process can be even more streamlined & efficient.

After the ASCAP blog post, a performer friend (Ball State percussionist Ryan Bischoff) shared it on Facebook with a few bullet points as to why he will always report performances to composers and send them programs:

  1. Composers like to hear that their music is getting played.
  2. It's simple to help them out. All you have to do is send them a PDF of the program or even just a photo of it.
    *If you don't have a scanner but have a smartphone, there are plenty of apps out there for taking a photo of something & saving it as a PDF (e.g. Piksoft's TurboScan).
  3. You might even get some good publicity, because some composers will mention your performance on their website or social media.

I have made it easy to report performances on my website. Just visit the Report Your Performances page, fill out the form, and click the link to email a program.

At the end of the day, composers love to hear about performances of their works. Something else to consider is that performance royalties make up a percentage of a composer's income. I'd say that about 90% of my performance royalties from ASCAP are the result of my own reporting.

Thank you in advance for taking the time to tell us about your performances.

A Recently Enlightened Composer & Performer

P.S. In case you missed the link buried in the text above . . . 

Getting Paid: Tips for ASCAP Concert Music Composers

There are four primary means of making money from writing music: 

  1. Commissions (people paying you to compose a piece for them)
  2. Sales Royalties (from the sale of physical or digital sheet music, whether your works are with a publisher or self-published)
  3. Licenses (when your music is arranged, recorded, etc.)
  4. Performance Royalties (when your music is performed by ensembles/performers in concert venues)

As concert (classical) composers, I think we often neglect performance royalties. We receive our piddly check from ASCAP (or whichever performing rights organization you prefer), use it to buy a cup of coffee, and go about our day. With just a little bit of effort though, you can increase your performance royalties tenfold or even a hundredfold.

The American Society of Composers, Authors & Publishers (ASCAP) is a performing rights organization (PRO) that collects royalties from presenters and performance venues and distributes them to composers, songwriters, and publishers when their copyrighted works are performed or receive radio/TV play. Other PROs include BMI and SESAC, but I will be focusing on ASCAP, as this is where my interest (and knowledge) lies.

In 2013 ASCAP reportedly distributed $851.2 million to its songwriter, composer, and music publisher members. The majority of this goes to songwriters and publishers of popular music, but there is no reason that we as concert writers can't get a larger piece of that pie.

Essential First Steps

  • Become a member of a performing rights organization such as ASCAP if you haven't already.
  • Register all of your compositions/works (

Minimal Time Investment = Maximum Financial Return

Each week I spend about 30 minutes total researching performances of my works and reporting them. It has resulted in doubling and tripling my ASCAP performance royalties over the past three years. Unfortunately, ASCAP doesn't make it easy to find info about performance reporting when browsing/searching their website, so follow these steps and you're golden.

Collecting Performance Information

You need to know when and where your compositions are being performed in order to report them, right? Occasionally, conductors and performers take the time to contact you and let you know they will be performing or have recently performed your music. More often than not though, you need to be more proactive. 

1) Ask about performances of your pieces via social networks (Facebook, Twitter, etc.)
I'm always surprised at how many people & performances come out of the woodwork when I simply ask a question.

2) Google your name & titles of your compositions
It might sound a little self-serving and vain, but it works!

3) Search your name & composition titles on YouTube
These might show up in your Google search, but it can't hurt to check here too.

4) Ask the director/performer to send a program
As soon as I learn of past and upcoming performances, I find the email for the director/performer (if I don't already have it in my growing database) and ask them if they will email me a PDF program (the importance of the PDF will present itself later). If this isn't possible, I simply ask that they mail a paper program to me.

5) Create PDF of paper program
If you have a smart phone, you no longer need a scanner to create PDFs. There are many apps out there, but I use TurboScan (by Piksoft) for creating PDFs by simply taking a photo of each page of the program.

Reporting Performance(s) to ASCAP

There is a newly redesigned online form to painlessly fill out for concert music performances ( Bookmark this address, as you will be hopefully returning to it often!

Be sure you have the following before you get started:

  • Performance Date(s)
  • Performance Venue
  • Work(s) Performed plus the ASCAP Work ID for each
  • PDF program (ASCAP provides the option to mail them a hard copy, but I have received emails from the Concert Department asking me not to do so any more)

Note: ASCAP does not collect dues from middle schools and high schools. While you can't report those performances using the traditional performance notification form, you should still collect information about them. You will need it later.

ASCAP Plus Award

According to ASCAP, "The ASCAP Plus Awards program is available to writers who received less than $25,000 in domestic performance royalties in the previous calendar year. It rewards writer members of all genres whose works were performed in unsurveyed media as well as writer members whose catalogs have prestige value."

This is where the performance information you gathered about middle and high schools comes into play. For instance, I have a concert band piece being played by a middle school band in their gymnatorium this evening. I will include the performance in my ASCAP Plus Award application ( For this, you only need to know the venue name and location, the performance date, and the performing artist(s). You do not even need the title of the work(s) performed. Additionally, this online form can be saved and returned to at a later date, so you don't need to sit and enter everything at once.

The ASCAP Plus Award shows up in your January domestic distribution. Easy money if you are an active composer.

Sit Back & Watch the Money Roll In!

It really is that simple!

  1. Learn about performances.
  2. Collect PDF Programs.
  3. Complete the ASCAP Performance Notification Form for each performance.
  4. Apply for annual ASCAP Plus Award.
  5. Get paid.

Obviously, the more works you have registered in your catalog, the more money you will make from performance royalties. If it seems that your ASCAP checks are not as high as you had hoped, be patient. Sometimes it takes awhile for performances to show up on your quarterly reports. I just assume I won't see results from the fruits of my "labor" for a year from my initial performance reporting.

Musing About the Benefits of Running (again)

I just returned from the 50th annual Percussive Arts Society International Convention (PASIC) in Indianapolis where I was fortunate enough to do so many of the things I love – perform for and talk to an attentive audience about composing for percussion as a percussionist, chat with hundreds of new friends and old at the C. Alan Publications booth while I attempt to sell them music, visit with my awesomely supportive sponsors (Yamaha and Vic Firth) and RUN! 

Every year at PASIC I realize how much I talk about (er… annoy people with my posts about) running on Facebook (and here I go again). One of the first things out of people's mouths when I haven't seen them for a year is "Man, you've been running a lot, huh?" It has become something that defines me and I'm okay with that. Let me tell you why though. A couple of years ago, I mused about Why I Think All Classical Musicians Are Pre-Programmed to Be Runners, talking about how similar the disciplines are, whether you are preparing for a marathon or a recital. Potayto, Potahto.  

While in Indianapolis this past weekend, more of the career & networking benefits of running became apparent. Over the summer, I volunteered to organize the PASIC Fun Run, which in the past has occurred on Friday morning at 7:00 a.m. during the convention. Historically, the attendance has been rather poor and I was determined to improve on that, so I expanded from one morning to three and plastered the social networks (tweeted with hashtags, created FB events, harassed friends & "friends" on their FB walls) to get the word out. 

What we ended up with was a terrifically eclectic group of percussionists each morning that had this common thread of running (and drumming). Where else are you going to hop from conversations with percussion professors from New Mexico, Missouri, Connecticut, Texas & South Carolina to the President-Elect of PAS to husband/wife drummer/percussionist for actor/musician Gary Sinise's Lt. Dan Band? We didn't set any speed records. We didn't run terribly far. We did have a lot of fun, meet new people and talk about anything from marathons to the new Schwantner Percussion Concerto to the mess at Penn State to our upcoming concerts & recitals. Even people who didn't join us for the runs each morning used topic of the Fun Runs as a conversation ice-breaker since I had posted about it so much leading up to the conference.

In the clinic I co-presented with Josh Gottry at the convention, I encouraged the young percussionists & budding composers in the audience, in the spirit of networking, to approach performers and composers they might have put up on a pedestal. They're all people. I think any two people can have at least one common thread that can break the ice – be it percussion, sports, politics or even… 


Good for your health. Good for your career.