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One who orchestrates or adapts a musical
composition by scoring for voices or instruments other than those
for which it was originally written. He may write simple piano
and vocal arrangements or complete band and orchestra scores.
On new, previously uncopyrighted material, arrangers usually
work free-lance as "work for hire" employees for a record
company or producer, or for a music publisher or printed music
licensee. Many professional arrangers are AFM members. However,
the value of the arranger is so unique that there is no set scale
payment for their services. Instead, the fee is negotiated and
usually includes copying and other related expenses. The fee may
run as high as 5 to 6 percent of the total recording costs.
The contract they sign states the fee (usually a flat one-time
fee) and/or other compensation they are to receive and that the
arrangements are considered as works made for hire. This eliminates
them from any right to receive royalty payments since the employer
secures the copyright and receives the entitled royalties.
When an arrangement of public domain material is made, the
arranger may receive royalties as would the writer of a new song
in that he may split the mechanical royalties with the music publisher
and also receive performance royalties from his performance rights
society.
Modern arrangers are highly trained and skilled in music theory,
sight reading, ear training, composition, harmony, and computer
and electronic enhancement. They are familiar with instrument
ranges and technical limitations. This training may be formal
or via private lessons. Arrangers sometimes work under extreme
pressure with ridiculous deadlines to meet-often overnight. Arrangers
use the trial and error technique and are writing and rewriting
constantly. See: ARRANGEMENT, HEAD
ARRANGEMENT, ORCHESTRATOR, ORCHESTRAL SKETCH, ABRIDGMENT OF MUSIC,
CONTRACT- SONGWRITER/PUBLISHER CONTRACT clause #10, DISTORTION,
COPYRIGHT LAW under "Derivative
Work," "Work Made for Hire," and "Fixed."
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