For when a songwriter gives a publisher their songs to register, license, pitch and collect, and they share what comes in. You choose whether the publisher takes ownership for the term or only administers the songs, fill in the list of songs, the percentages and the dates, and the publisher signs online. In English or Spanish. Starting from a template uses no credits.
TONTRIA Law guides you and drafts your documents. For a lawsuit or a big negotiation, consult a lawyer.
One field decides it: the writer assigns the songs to the publisher for the term, or only entrusts it with administering them and stays the owner. Either way it is exclusive, for the territory you write in (the world by default), and every right not written in stays with the writer.
The songs listed in the schedule, with their co-writers, the writer’s percentage and the ISWC if there is one; you can add songs later in writing. For co-written songs every calculation is made only on the writer’s share.
Issue mechanical licences, authorise streaming and downloads, collect the publisher’s share of performance income, license sync, print sheet music and lyrics, register the songs and appoint sub-publishers. Translations or changes to the lyrics, music or title need the writer’s written approval.
A term from signing (three years by default) and a retention period after it (one year by default) in which the publisher only collects and administers, without new exclusive licences. Then the songs revert automatically, and the publisher notifies the societies within 30 days.
If a song has earned nothing and had no licence within 24 months of being added, the writer can ask for it back; unless the publisher proves it was used within 60 days, it reverts.
The writer gets a percentage of all publishing income (70% by default) after only the deductions you write in, by default sub-publishers’ fees up to 20%. The writer’s share of performance income is paid by the society directly to the writer, stays out of the split and never recoups an advance.
Optional, paid within 10 days of signing. It is recouped only from the royalties of this agreement, never from other deals or the writer’s performance share, and never has to be paid back.
Statements every six months by default, within 60 days, by song, source, country and type of right. Audit once a year with 30 days’ notice and a 5% threshold. The publisher must register every song with all co-writers within 30 days, pitch them, chase unallocated money and answer for its sub-publishers.
Sync in advertising, sensitive uses (political, religious, tobacco, weapons, gambling, explicit) or with altered lyrics needs the writer’s written approval; other syncs need 5 business days’ notice. The writer keeps their credit and moral rights. Not accounting, not paying or not registering is a material breach: if not fixed in 30 days the songs come back at once, without retention.
Admin, co-publishing, full and single-song deals, advances and how songwriters get signed: what a music publishing deal is. Before adding a co-written song to the schedule, agree the shares in a split sheet.
Upload your next contract or start a split sheet today, and get your deals on paper.
