Agree the composition, deliverables and rights clearly
Composition creates new music for an occasion, ensemble or project. The result may be a score, a playable demo or a fully produced recording. These deliverables involve different steps. A useful enquiry explains the idea, musical scope and later use without requiring technical vocabulary or a complete reference work.
Describe how the new music will be used
Is this a new choral work, a song or music for film, a game or advertising? State the occasion, audience and role of the music. New composition differs from arranging an existing work, licensing a track or recording music already written. Existing ideas or lyrics may form part of the brief, but their status should be clear.
| Use | Useful brief detail |
|---|---|
| Ensemble or concert | Performers, playing level and performance date. |
| Song | Voice, language, existing lyrics and deliverable. |
| Film or game | Scenes, placement and required versions. |
| Advertising or brand | Purpose, media and desired variants. |
Explain the idea, mood and constraints
Describe in plain words what the music should express or support. Theme, mood, audience and a few stylistic pointers help more than an unprioritised list. References can be discussed later; they do not automatically permit copying another melody. One short shared overview is enough initially, without confidential manuscripts or unreleased production files.
Define pieces, musical duration and performers
State the number of distinct pieces and any known musical duration, or explain that scope remains open. A film’s total running time is not automatically the music length. A short brand motif can require substantial development, so cost need not rise linearly per minute. For ensembles, parts, playing level and available instruments matter; choosing instrumentation can be part of the advice.
Distinguish score, demo and finished recording
Clarify whether you need a score and individual parts, a working demo or audio files ready for release. A demo makes an idea audible but is not automatically a finished master. Recording performers, studio work, editing, mixing and mastering may be additional. Agree formats, separate tracks and versions instead of assuming composition includes complete production.
Plan drafts, feedback and versions
Agree when a first draft will be heard or read, who consolidates feedback and which revisions are included. A new musical approach after approval differs from a small correction. Short edits, different ensembles or additional language versions may require separate work. Clear milestones avoid an expectation of unlimited revisions and establish a common direction in time.
Agree intended use and rights expressly
Paying for composition does not automatically transfer every right in the work and recording. Discuss media, territory, duration, exclusivity and later adaptations. Rights representation may also matter. Existing music, lyrics and recordings need their own permissions clarified. Before release or performance, the agreement should fit the actual project; blanket rights-free use is not assumed.
Compare the complete creative commission
Compare offers for the same deliverables and uses. Composition, production and rights may be separate cost items. A general studio hourly rate is not the total fee for a new work, and a fee recommendation is neither a Swiss market average nor automatically binding. Have inclusions, extras and the procedure for changed scope stated clearly.
| Cost item | State in the quote |
|---|---|
| New music | Pieces, duration, instrumentation and preparation. |
| Deliverables | Score, parts, demo or finished audio. |
| Production | Performers, studio, mixing and mastering. |
| Versions and use | Revisions, variants and agreed rights. |
Plan delivery, rehearsal and the initial enquiry
Separate the desired delivery date from any known performance or release date. Allow agreed time for reading, rehearsal, feedback or recording between them. An initial overview gives the use, idea, known piece count and duration, deliverables and timing. Musical details can be developed together; private production files and a fully developed draft are not compulsory.
Frequently asked questions
Do I need an existing score or demo?
No. Describe the idea, use and intended result. Existing material may help but is not needed for every new commission.
Is a finished recording automatically included?
No. Score, demo and finished audio are different deliverables. Performers, studio work, mixing and mastering are expressly agreed.
Can I commission music for a choir or ensemble?
Yes. Give the performers, playing level and date. Parts, rehearsal and any recording are scoped separately.
Is there one standard price per minute?
No. Development, performers, production, versions and use affect the engagement. Short music can still involve substantial work.
Can I use the music anywhere after paying?
Not automatically. Agree the actual media, territories, periods and rights in both work and recording before use.
Are unlimited revisions included?
Do not assume so. Define draft stages, consolidated feedback and the revisions included.
