Types of Theatre Composing Work

Composition vs Sound Design  

In theatre, commissioners sometimes conflate composition and sound design during the development of a production. While there can be overlap, they are distinct roles which may need to be treated and negotiated separately. A sound designer may be hired to oversee the technical aspects and quality of sound in a production. This can include creating and/or sourcing sound effects, integrating pre-recorded material or managing live instruments, or deciding how performers’ voices are heard by the audience. 

The sound designer’s role is usually highly collaborative and practical. It often involves working closely with the director, stage management and technical teams and attending rehearsals.

You may consider a day rate over a commissioning fee when negotiating sound design work (separate to compositional work). Your day rate may be based on hours worked each day, acknowledging the collaborative time needed in rehearsals and meetings with the production team; or alternatively, you may still opt for a commissioning fee, which may be based on the volume of work or the duration of music. 

Arranging for Theatre Productions

If you are asked to provide arrangements for a production, first check that the commissioner has secured the necessary permissions and licences for the original work.

Responsibility for securing this should ideally rest with the commissioner, and this should be outlined clearly in your contract - you should then negotiate payment and agree on terms, including how the arrangement can be used, ahead of starting the work.

The minimum recommended rates of pay for arranging, music preparation and orchestration can be found here.

Research and Development Projects (R&D)

You may be asked to create some music for an R&D project. These projects look to develop ideas or parts of a show in hopes of applying for funding or backing to develop it in full.  As these projects are in short-term development, you should consider how you want to be paid – this could be a daily rate or based on the amount of work required. You should agree and be clear on what the end goal is.

You may not always be available or required after the R&D phase, so you should ensure that the contract allows for adequate remuneration, credit, and protection of rights. It’s beneficial to get first refusal for any future performances of the show and to make sure the work you create is protected.

You should also agree on the usage of materials post-R&D development – since producers may share recordings or excerpts with theatres, producers and other industry professionals to promote the development of the show, or to raise funding, so it’s key you talk about how and where your materials will be used and whether this will warrant further remuneration. You may want to consider restricting the licence for a short time period and for specific uses, with further usage warranting remuneration or negotiation. 

Electronic Music

You may be asked to create and/or perform some electronic music as part of your commission. Providing you have determined whether recorded music is permitted in the show, you may want to consider how your fee reflects electronic music preparation and/or performance in addition to composing the score.