Theatre Composition Work Considerations Volume of work expectations and recorded music considerations should be outlined when negotiating your contract. Last updated: 06 October 2026 Volume of Work Find out how much music is required, as the duration will impact how you negotiate your rates – have a look at the MU's minimum rates guidelines to help. Regardless of whether the project you are being commissioned for is in its Research and Development (R&D) phase or whether it is getting ready for public performances, it is a good idea to understand the length of the writing period proposed and whether the work commissioned is realistically achievable by the delivery date. Your commission may require more time or involvement than initially agreed. This isn’t always explicitly requested but can arise naturally from the evolving nature of a production. You should be mindful of this possibility and consider how that flexibility might be reflected or accommodated within the terms of your contract. For example, you can negotiate a clause that outlines how additional work will be paid or alternatively, ahead of additional work being expected or undertaken, that a discussion needs to occur to ascertain the terms of that work. Recorded Music You may be asked to produce recorded music/backing track as a deliverable in your commission. The Musicians' Union strongly advocates for the use of live musicians, where possible. It is important to check whether your commissioner is party to an agreement with the MU, as these set out specific rules around the use of recorded music. If recorded music is being considered, there are several areas you’ll need to be aware of. Can recorded music be used? What is a Collective Bargaining Agreement and how might it affect you? Is recorded music being used to reduce costs or cut corners? A show without live musicians can diminish the overall impact of the show, especially when music is the central element of the production. How will the session musicians be engaged for the recordings? It’s important to be aware of the MU’s session rates for musicians and to make sure they are contracted and paid appropriately. Buyouts should not be offered, as they limit musicians to a one-time payment and prevent control over the usage of the work, as well as ongoing fees for repeated use. This practice undervalues musicians’ contributions and is not in line with industry standards. Contracts must protect musicians’ rights to appropriate remuneration for all uses of their performances. Confirm that the production has set aside an adequate budget for any recording sessions and musicians and clarify whether this will be taken from your commissioning fee or provided as a separate budget. The party financing the recording will have ownership of the master rights of the recorded music, so ensure you have discussed this ahead of any recording. If musicians are recording the music, you may need a music copyist to prepare the parts for the recording session(s), and has this budget been set aside? You can find recommended minimum rates for Arranging, Music Preparation and Orchestration. If the show needs specialist tech or software (like QLab for example), check who’s providing and paying for it. Any additional required responsibilities should be outlined in the agreement, and you should be appropriately compensated for them.