It’s a new year! That means a whole new list of musical compositions, books, art, and films enter the public domain. Here are five songs that became part of the public domain on January 1, 2026, which you can now arrange, quote, and incorporate into your own compositions.
1. I Got Rhythm by George & Ira Gershwin
“I Got Rhythm,” composed by George Gershwin with lyrics by Ira Gershwin for the 1930 musical Girl Crazy, is a cornerstone of the American songbook. Its 32-bar AABA form and harmonic framework—later called “rhythm changes”—became one of the most pervasive structural templates in jazz composition and improvisation.
2.Dream a Little Dream of Me by Gus Kahn, Fabian Andre and Wilbur Schwandt
“Dream a Little Dream of Me,” with lyrics by Gus Kahn and music by Fabian André and Wilbur Schwandt, is a 1931 popular song that blends gentle romantic imagery with a lilting, lullaby-like melody. The song’s simple, diatonic harmony and slow, intimate tempo have made it especially adaptable to close vocal harmonies and expressive rubato. Its enduring appeal is reflected in its many reinterpretations across jazz, pop, and folk traditions, from Ozzie Nelson’s early recordings to later iconic versions by Ella Fitzgerald and the Mamas & the Papas.
3. Body and Soul by Edward Heyman, Robert Sour, Frank Eyton, and Johnny Green
“Body and Soul,” composed by Johnny Green with lyrics by Edward Heyman, Robert Sour, and Frank Eyton, is a 1930 ballad renowned for its harmonically rich, chromatic progression. The song became a landmark of jazz interpretation through Coleman Hawkins’s 1939 recording, which largely abandons the melody in favor of extended harmonic improvisation. Since then, it has stood as a touchstone for ballad playing, prized for its demanding voice leading and expressive potential.
4. Georgia on My Mind by Stuart Gorrell and Hoagy Carmichael
“Georgia on My Mind,” composed by Hoagy Carmichael with lyrics by Stuart Gorrell, is a 1930 popular song noted for its supple melody and subtly shifting harmonies. Its AABA form and expressive use of secondary dominants and modulations have made it a favorite vehicle for personalized phrasing and reharmonization in jazz and popular performance. The song’s legacy was cemented through iconic interpretations—most famously Ray Charles’s—while remaining a staple of the Great American Songbook.
5. The Royal Welch Fusiliers by John Philip Sousa
“The Royal Welch Fusiliers” is a military march composed by John Philip Sousa in 1923 in honor of the British Army regiment of the same name. Stylistically, it blends Sousa’s characteristic American march idiom—clear strains, buoyant rhythms, and a lyrical trio—with a ceremonial dignity befitting its British subject. The piece reflects Sousa’s international reputation and his frequent engagement with military traditions beyond the United States.
In today’s digital age of downloading and streaming, and with services like Amazon Prime offering next-day delivery, there’s a strong incentive for businesses to deliver products as quickly as possible. Offering digital downloads of your sheet music can certainly meet this demand. But is it always the best option? Let’s explore the pros and cons of offering digital sheet music downloads.
Pros
1. Instant Access
One of the most obvious advantages of digital sheet music is the ability to provide instant access. Once a customer makes a purchase, they can immediately download the music. This is especially useful for ensemble librarians or directors who may need a perusal score quickly. In such cases, offering a watermarked or redacted PDF for speedy distribution can be a great solution.
2. Wider Reach
Digital sheet music has the potential to reach a global audience. We’ve noticed higher digital sales through our retail channels when selling internationally. Additionally, depending on the type of music you offer, international customers may prefer the convenience of a digital download over waiting for a physical copy to arrive or paying for shipping costs.
3. Lower Production Cost
Without the need for printing scores and parts, you can significantly reduce production costs, allowing you to keep more of the profit from each sale. While we generally recommend keeping the retail price the same for both print and digital versions (for reasons we’ll cover later), this approach also gives you the flexibility to offer a digital version at a lower price, if desired.
4. Interactive Features
When offering digital versions of your music, you may be able to incorporate interactive elements that enhance the customer experience. This is particularly appealing if you’re producing a method book where you can include audio or video examples. For theory workbooks, you could integrate interactive multiple-choice questions or quizzes to engage your audience further.
Cons
1. Piracy and Copyright
One of the biggest concerns with digital products is the risk of copyright infringement. Selling a digital edition makes it easier for someone to redistribute your sheet music without permission. However, there are platforms that can help curb this issue. For instance, Newzik is a digital platform that offers features to prevent downloads, adding an extra layer of security. Songburd exclusively distributes digital editions through Newzik to help protect against copyright infringement. Other distribution channels, like nkoda and JW Pepper, also offer various protection measures through their own systems. If you decide to offer digital editions, it’s important to work with a distributor that collaborates with trusted retailers and platforms.
2. Formatting
While most sheet music formats translate well to digital, there can be issues with large ensemble scores, which may include as many as 20-35 systems (even after condensing). These scores are often produced on Tabloid-sized (11 x 17 in) paper or even oversized 12 x 18 in sheets. When attempting to read these scores on a tablet or printing them on common 8.5 x 11 in paper, the systems can become difficult to read, which may compromise the clarity of the music.
3. Less Control Distribution
Different platforms have their own rules and terms regarding pricing, discounts, and distribution. If you choose to sell digital editions through third-party retailers, you may need to conform to their policies, which may or may not align with your goals. Additionally, by offering only digital versions, you miss out on opportunities that print editions can provide—such as reaching more retail outlets and expanding your distribution. Many performers still prefer printed music, and schools, ensembles, and professional groups often favor ordering sheet music in a professionally printed format.
4. Technology Reliance
Although digital downloads are widely used, not everyone has the ability to download or print digital sheet music. There is also a certain level of dependence on digital platforms and devices. As technology evolves, devices require updates to support new formats, which can create long-term accessibility and usability issues. Publishers continuously monitor and adapt to these changes, but when self-publishing, it’s important to be aware of the same challenges and plan accordingly.
Recommendations
Offering digital downloads of sheet music provides instant access, a wider reach to international customers, lower production costs, and the potential for interactive features. However, there are some downsides. Piracy and copyright infringement are concerns, though some platforms may offer protections. Formatting challenges can occur with large scores, making them difficult to read on smaller devices or paper. Additionally, selling digitally means less control over distribution and missing out on opportunities in physical retail outlets. Lastly, not everyone has the technology to download or print digital music, and evolving formats can create long-term accessibility issues.To address these challenges, consider offering your music for both digital downloads and print-on-demand. This allows you to provide customers with instant access while also catering to those who prefer physical copies, ensuring broader accessibility and flexibility.
Disclaimer: The content of this article has been prepared for informational purposes only and does not constitute legal advice. The information on this website should not be construed as an offer to represent you, nor is it intended to create, nor shall the receipt of such information constitute, an attorney-client relationship.
You’ve written your first song, and now it’s time to share it with the world. It’s an exciting milestone! After negotiating a contract with a publisher, they’re ready to help get your music out there. You sign the contract, and it’s in their hands to do what they do best.
But what if you decide you no longer want to work with that publisher? Maybe your music is doing well, and you’re thinking about switching to self-publishing or a music administrator to increase your profits. Or perhaps you want to renegotiate your contract, or even work with a different publisher, to get better terms.
Whatever the reason, you want control of your copyright again to choose a new direction.
The issue is that you’ve given or trasnferred your copyright to the publisher – usually termed as granting rights or assigning rights in a contract. This is common practice, as it gives the publisher full, or exclusive, commercial control over your work, allowing them to maximize profit by licensing, distributing, and promoting your music across various platforms.
Can I get my copyright back?
The good news is, yes, you might be able to get your copyright back—and it’s explicitly built into copyright law. If we head over to Chapter 2 of the U.S. Copyright Act of 1976, you will find it addresses the issues of copyright ownership and transfer, but it also includes provisions for getting your copyright back – or, in the words of the Copyright Act, “thetermination of licenses granted by the authors.”
NOTE: “Authors” will refer to the original creators and owners of the copyright, rather than using terms like composer or songwriter. “Termination” refers to the canceling of a grant of copyright to a publisher or another party.
Who can terminate a grant of copyright?
When it comes to terminating a copyright grant or assignment, several factors come into play, including the author’s status, whether there were multiple authors involved, and the specific termination provisions in place.
For a living author, they have the right to terminate their own grant. If multiple authors agreed to the grant after January 1, 1978, a majority of those authors can terminate it. However, for grants made before that date, any author can terminate their own share.
If the author is deceased, the majority of the author’s heirs can terminate the grant. If there are no heirs, the author’s executor, administrator, or personal representative can step in to do so. In cases where the grant was made by the author’s heirs, the surviving heirs have the authority to terminate it.
Who cannot terminate?
Work-for-hire agreements are not eligible for termination, as these are considered works created as part of employment or as a contractor for another party, with the understanding that the copyright will be transferred to the employer or person paying for the work.
When can I get my copyright back? Section 203(a)(3)
We’ll be looking at a very specific section of Chapter 2 – specifically Section 203 of the Copyright Act. Section 203 deals with the termination of grants, giving authors or their heirs the ability to reclaim their rights within a strict timeline.
Section 203(a)(3): “Termination of the grant may be effected at any time during a period of five years beginning at the end of thirty-five years from the date of execution 170 Copyright Law of the United States §203 Copyright Ownership and Transfer of the grant; or, if the grant covers the right of publication of the work, the period begins at the end of thirty-five years from the date of publication of the work under the grant or at the end of forty years from the date of execution of the grant, whichever term ends earlier.”
So, what does this mean? This means that authors or their heirs have the right to cancel (or “terminate”) a deal with a publisher after a certain amount of time. This can happen during a 5-year window, which starts 35 years after the original agreement was made (the date when the grant was signed).
If the grant covers the right to publish the work, the 5-year window for termination can also start 35 years after the work was first published, or 40 years after the grant was signed—whichever comes first.
So, after waiting for either 35 years from the agreement or 35 years from publication (whichever happens first), you or your heirs can begin the process of ending the deal and getting your rights back.
Let’s say you granted your copyright to a publisher in 2020. The earliest date you can terminate is 2035 and the latest is 2040.
How do I terminate? – Section 203 (a)(4)
Now that you know when can you set or request a termination date, let’s go over how to terminate a grant of copyright.
Section 203(a)(4):“The termination shall be effected by serving an advance notice in writing, signed by the number and proportion of owners of termination interests required under clauses (1) and (2) of this subsection, or by their duly authorized agents, upon the grantee or the grantee’s successor in title.“
To terminate the grant, a written notice must be served in advance, signed by the required number of owners with termination rights. The notice can also be signed by their authorized agents, such as an attorney or another party you authorize who is familiar with the process.
Essentially, all owners with a stake in the work need to send a signed notice, but they have the option to appoint an authorized agent to handle the task.
Let’s read on…
Section 203(a)(4)(A): The notice shall state the effective date of the termination, which shall fall within the five-year period specified by clause (3) of this subsection, and the notice shall be served not less than two or more than ten years before that date.
When the notice is sent, it needs to have the effective date of the termination. Clause 3 (mentioned above) sets a specific 5-year period during which a copyright owner (or their successors) can serve a notice of termination, which is typically 35 to 40 years after the original grant of the copyright (depending on whether it was a work-for-hire or individual grant). The “effective date of termination” must fall within this 5-year period, meaning that the termination will happen at a date during that time frame. The notice of termination must be served not less than 2 or more than 10 years before the effective termination date.
So, essentially, the five-year period provides a specific window of time for the termination to become effective, and the notice must be sent out with the right timing within a range of 2 to 10 years before the termination is to take effect. This ensures that the termination is properly planned and filed within the law’s rules.
Let’s say your termination period spans from 2035 to 2040, and you’re aiming to terminate at the earliest possible date in 2035. In that case, the earliest you can send your notice is 2025 (10 years before), while the latest you can send it is 2033 (2 years before the desired termination date).
Now, let’s consider if you choose 2038 as your termination date. The earliest date you can send your notice would be 2028 (10 years before), and the latest date would be 2036 (2 years before the termination).
Sending a notice
In addition to sending a notice to the publisher, you also need to send a notice to the Copyright Office.
Section 203(a)(4)(A) continued: “A copy of the notice shall be recorded in the Copyright Office before the effective date of termination, as a condition to its taking effect.”
Section 203(a)(4)(B): “The notice shall comply, in form, content, and manner of service, with requirements that the Register of Copyrights shall prescribe by regulation.“
There can be some limitations to terminating a copyright, but this will hopefully give you a better idea about the process.
Summary
Section 203 of the U.S. Copyright Act provides songwriters and authors with a valuable opportunity to regain control over their works after a period of time. After 35 years, or 40 years in some cases, you or your heirs may be able to terminate a contract with a publisher and reclaim your copyright. However, this process must be approached with careful timing and adherence to specific procedures, including serving written notice and recording it with the Copyright Office. While it may take decades before you can take advantage of this provision, it offers an important safeguard for creators who may want to renegotiate terms or explore different opportunities down the line.If this is something you’re considering, we recommend consulting with legal professionals for proper advice and guidance before terminating a copyright grant.
Steps to take:
The Author, or majority of Authors, must decide or agree to terminate copyright.
Figure out when set/request a terminate date between 35 and 40 years after the copyright grant.
Write a notice to publisher requesting termination (signed by Authors).
Submit notice to Copyright office with the accompanied Cover Sheet.
As we move into 2025, a new wave of musical compositions, books, art, and films from 1929 enter the public domain. Here are five songs that became part of the public domain on January 1, 2025, which you can now arrange, quote, and incorporate into your own compositions.
1. An American in Paris by George Gershwin
An American in Paris is a symphonic jazz composition by George Gershwin, first premiered in 1928, inspired by the composer’s visit to Paris and his impressions of the city. The piece blends classical music with jazz elements, capturing the vibrant atmosphere and cultural contrasts Gershwin experienced during his time in France.
2. Boléro by Maurice Ravel
Boléro is a one-movement orchestral composition by Maurice Ravel, first premiered in 1928, known for its repetitive melody and gradually increasing orchestral intensity. The piece features a continuous, hypnotic rhythm and has become one of Ravel’s most famous works, often associated with themes of tension and relentless drive.
3. Singin’ in the Rain by Arthur Freed and Nacio Herb Brown
“Singin’ in the Rain” is a classic song made famous from the 1952 musical film of the same name, performed by Gene Kelly, who famously danced and sang in a downpour. The song’s catchy tune and cheerful lyrics have made it a timeless anthem, often associated with the joy of carefree moments.
Note: The film Singin’ in the Rain is not in the public domain.
4. Ain’t Misbehavin’ by Andy Razaf, Thomas ‘Fats’ Waller, and Harry Brooks
“Ain’t Misbehavin'” is a jazz standard written by Fats Waller, Harry Brooks, and Andy Razaf in 1929, and became one of Waller’s most popular hits. The song’s playful lyrics and lively melody, along with Waller’s distinctive piano style, helped solidify its place as a beloved classic in the American jazz and blues repertoire.
5. Tiptoe Through the Tulips by Alfred Dubin and Joseph Burke
“Tiptoe Through the Tulips” is a popular song written by Joe Burke and Al Dubin in 1929, famously performed by Tiny Tim in the 1960s. With its lighthearted melody and whimsical lyrics, the song has become an enduring novelty tune, known for its high-pitched vocals and playful, romantic imagery.Note: Tiny Tim’s rendition of the tune is not in the public domain.
To find more content from 1929, visit the Catalogue of Copyright Entires. This catalogue is published by the US Copyright office and is hosted by the University of Pennsylvania Libraries.
Interested in self-publishing and selling your sheet music or books? Learn more about Songburd Connect!
Metadata is a key part of selling sheet music or books—it provides important keywords and summaries that help customers find your work in a crowded marketplace. In the vast sea of online options, strong metadata ensures your music doesn’t get lost.
When it comes to sheet music and books, two of the most important pieces of metadata are titles and subtitles. These not only define your work but also play a big role in searchability and discoverability. Choosing them wisely can make all the difference!
Title
The title is the cornerstone of metadata for sheet music—and all publications. Aside from your name, it’s the primary way customers will search for your music. A title can be almost anything, but like a novel or book, it should clearly reflect the style, aesthetic, or mood you want to convey. If it’s not a concerto, don’t call it a concerto. If it’s a sonata, call it a sonata. If your music captures the romance of two star-crossed lovers dancing a three-four waltz under the moonlight, call it Midnight Dance. Be creative and expressive with your titles—but above all, be accurate!
Take Honk! by Mica Redden as an example. The title, punctuated with an exclamation mark, immediately suggests satire and playfulness. Can you guess the intended instrument or instrument group? If you guessed tuba or another brass instrument, you’d be right! If you thought of a jazz band or wind ensemble, you wouldn’t be far off.
This title cleverly taps into our subconscious association of brass instruments as boisterous horns producing comical honking sounds. It sets the stage for a fun, lively experience. While the piece could have been given a conventional title like Sonata or Concerto, a bold and stylized name like Honk! perfectly complements the instrument and genre, promising flair and personality in performance.
Subtitle
The subtitle provides additional information that a title may not provide. In music, the subtitle may inA subtitle adds extra details that the title alone might not cover. In music, it can include key or opus numbers (like “in B-Flat Major, Op. 825”), hint at the contents or genre (“A Collection of Christmas Carols”), or mention instrumentation—though that’s usually handled separately in metadata rather than in the subtitle. While a subtitle isn’t always necessary, if you choose to use one, it should be intentional and well thought out.
Examples of Subtitles in Use
Key and opus number: Partita No. 1 in B-Flat Major, Op. 825
Partita No. 1 is the title, while “in B-Flat Major, Op. 825” serves as the subtitle.
Content and genre: Holiday Carols: A Collection of Christmas Carols for High Voice
Holiday Carols is the title, while “A Collection of Christmas Carols for High Voice” is the subtitle.
What to Avoid
Your subtitle shouldn’t be a laundry list of keywords just to rank in online searches, nor should it over-explain your music. A long, clunky string of descriptors isn’t helpful to the reader and doesn’t serve the purpose of a well-crafted subtitle.
Here’s what not to do:
🚫 Honk! Modern Solo Tuba Sheet Music with Piano Accompaniment 🚫 Midnight Dance: String Quartet Sheet Music for Weddings and Special Occasions
These subtitles try too hard to please search engines and don’t actually help the composer or the audience. Keep it simple and meaningful. Avoid words like “modern”—what’s modern today might feel outdated in a year. And terms like “for weddings and special occasions” belong in program notes or product descriptions, not the title. Also, never include “sheet music”—that’s already understood.
When a Subtitle Is Useful
For pieces like Honk! and Midnight Dance, a subtitle might not even be necessary. But if you want to clarify instrumentation, here’s a better approach:
✔️ Honk! for Tuba and Piano or Honk!: for Solo Tuba ✔️ Midnight Dance: for String Quartet
To decide if you need a subtitle, ask yourself: What is my music about? If the title alone doesn’t make that clear, a subtitle might help. Otherwise, let the music (and the metadata) do the talking!
How Long Should My Title Be?
While you can technically name your piece anything you want, it’s important to consider practical limitations—especially when selling your music. Keep your title (and subtitle, if you have one) concise. We recommend staying between 20 and 60 characters total, as this aligns with best practices for search engines and retailers. In fact, longer titles can actually hurt visibility rather than help.
Why Keep It Short?
Long titles are hard to remember.
Search engines prefer shorter titles (ideally between 20 and 60 characters).
Retailers may have character limits, meaning your title could get cut off.
Concise, well-thought-out titles look more professional and appealing.
So, What Should You Name Your Piece?
Ultimately, your title can be anything—as long as it captures the essence, form, and style of your music. Aim for something that is memorable, clear, and doesn’t distract from the music itself. Be creative, funny, or unique!
As for fonts and formatting? We’ll cover that another time.
What is a Performing Rights Organization (PRO) and what do they do?
A Performing Rights Organization (PRO) is an entity that represents songwriters, composers, and music publishers in managing and licensing their performance rights. The primary role of a PRO is to ensure that creators receive compensation when their music is performed in public. Here are the key functions of a Performing Rights Organization:
Licensing and Royalty Collection: PROs negotiate licenses with businesses and organizations that use music publicly, such as radio stations, television networks, concert venues, restaurants, and streaming services. These licenses grant permission to use the copyrighted music, and in return, the businesses pay licensing fees. The PROs collect these fees on behalf of their members.
Royalty Distribution: After collecting licensing fees, PROs distribute royalties to their member songwriters, composers, and music publishers. The distribution is based on various factors, including the frequency and popularity of the performances, as well as the terms of the licensing agreements.
Monitoring and Tracking Performances: PROs use advanced technology and monitoring systems to track when and where music is performed in public. This includes monitoring radio and TV broadcasts, live performances, online streaming, and other public uses of music.
Advocacy and Education: PROs often engage in advocacy efforts to protect the rights of their members and to promote fair compensation for the use of their music. They may also provide educational resources to help members understand their rights and navigate the music industry.
International Collaboration: Many PROs operate internationally and collaborate with each other through reciprocal agreements. This ensures that members receive royalties for performances of their music in foreign countries, and vice versa.
What is a “writer?”
A “writer” refers to an individual who creates the musical composition, which includes the musical notes, lyrics, or both. The term is commonly used to describe songwriters and composers. Here’s a breakdown of the roles:
Songwriters: These are individuals who write the lyrics or words of a song. They focus on crafting the textual content that accompanies the music. Songwriters may work independently or collaborate with others, including composers.
Composers: Composers are individuals who create the musical elements of a song, including the melody, harmony, and overall musical structure. Composers may work independently or collaborate with songwriters to create a complete musical composition.
PROs consider “Writer” to receive 50% (or half) of the performing royalties, while the publisher receives the other 50% (or half). Some organizations calculate this number differently. For example, BMI considers the Writer half at 100% and the Publisher portion as 100%. Regardless, there are two equal royalty remissions to these two entities.
What is a “publisher?”
A “publisher” refers to an entity or individual responsible for managing and administering the business aspects of a musical composition. The publisher works in collaboration with the songwriters and composers to promote, license, and collect royalties for their works. Here are key aspects of the role of a publisher in a PRO:
Administration of Rights: Publishers handle the administrative aspects of a musical composition’s rights. This includes registering the work with the PRO, managing contracts, and ensuring that all necessary paperwork is in order for the licensing and collection of royalties.
Licensing: Publishers negotiate and issue licenses for the use of musical compositions. This can include licensing for performances in various settings such as concerts, radio, television, online streaming, and more. The goal is to ensure that the composition is properly licensed, and the appropriate fees are paid for its use.
Royalty Collection: Publishers work with PROs to collect royalties generated from the public performance of musical compositions. This involves tracking performances, collecting licensing fees from businesses and organizations that use the music, and distributing the earned royalties to the songwriters and composers.
Promotion and Marketing: Publishers often play a role in promoting the works of their affiliated songwriters and composers. This may involve marketing efforts to increase the visibility of the music and secure opportunities for its use in various media and commercial outlets.
Global Representation: Publishers may work internationally, collaborating with PROs in different countries through reciprocal agreements. This ensures that the musical compositions are properly represented and generate royalties when performed globally.
Advocacy and Business Development: Publishers may advocate for the rights of their affiliated writers and composers, engaging in negotiations and business development activities to secure favorable terms for the use of their works.
It’s worth noting that some songwriters and composers choose to handle the administrative and business aspects of their music themselves, while others opt to work with music publishers. In either case, the collaboration between writers and publishers is crucial for effectively managing the business side of the music industry and ensuring that creators are compensated for the use of their works.
What is an IPI number?
An IPI number (Interested Party Information) is a number assigned to writers and publishers when they join a performing rights organization. This unique number is usually between 9 and 12 digits long and identifies you as the copyright holder of the song. Administrators and publishers may request this number in regards to licensing or collecting royalties.
Should I register as just a writer, or should I register as both a writer & publisher?
If you have an administrator or publisher collecting the publisher portion of royalties on your behalf, then you may not need to register for both. If you plan on self-publishing and want to represent yourself on business matters, we recommend signing up as both a writer and publisher. Even if you don’t plan on collecting publisher royalties now, it is a good idea to go ahead and set that up in case you want to collect those payouts later on.
Composers who distribute their music through Songburd Connect for self-publishing should register as both writer and publisher to ensure they are receiving full compensation for their work.
Howmuch does it cost to join?
The cost to join a PRO will range from FREE to a few hundred dollars (USD). Some organizations may offer more benefits such as better royalty rates. You should review the benefits of each organization and decide if the cost to sign up is worth the investment.
Can I join a PRO even if I am not a citizen in the country the PRO is located?
For the most part, you are able to join any PRO regardless of nationality. PROs have agreements with other organization to collect royalties, however pay schedules may vary based on those agreements. Alternatively, you can also register with groups like Songtrust to administor your royalty collection.
Which PRO should I join?
We recommend starting with a PRO in your country. This will be a good starting point to see what they offer.
Start by finding a PRO that you think will best represent you and your goals. See what benefits they offer, and check out their website for further instructions to register. It’s a good idea to register so that you can collect all potential revenue streams for your music!
Performing Rights Organization (PRO) serve as an intermediary to collect royalties for when your music is performed live (either digitally or by a live band/performing group). If you want to collect these royalties then you will need to register for one of these organizations.
Artists looking to join a PRO should register with one of the organizations below. This list may not reflect every country or active PRO, and is intended to provide a quick reference for the most common organizations. CISAC (France) serves as the governing body for PROs and has additional information and a full member directory here.
An ISBN, or International Standard Book Number, is a distinct identifier assigned to books. Think of it as a book’s equivalent of a unique ID. This code is crucial for cataloging and managing books within the publishing industry. It helps in tracking sales, royalties, and distribution channels. When a book has an ISBN, it becomes easier for libraries, bookstores, and online retailers to list, sell, and organize books. This identification system ensures that each book can be accurately recognized, making it an essential tool for authors, publishers, and readers in the realm of printed literature.
What is an ISMN?
On the other hand, an ISMN, or International Standard Music Number, is specifically designed for sheet music and musical scores. Similar to an ISBN, an ISMN is a special code that provides a unique identity for each musical publication. This code aids in the efficient organization, tracking, and discovery of various musical pieces. Musicians, composers, and publishers benefit from ISMNs as they facilitate the management and accessibility of sheet music. Just as an ISBN connects books with readers, an ISMN helps sheet music reach musicians, educators, and performers through music shops, libraries, and digital platforms. It’s a valuable tool for the music industry to manage and share compositions effectively.
What is a barcode?
A barcode is a visual representation of data in the form of parallel lines, bars, and spaces that encode information in a machine-readable format. It serves as a quick and accurate method of identifying items using optical scanning technology. Barcodes are commonly used in retail, inventory management, and logistics to streamline processes by allowing machines to rapidly read and interpret the encoded information.
In relation to ISBNs and ISMNs, barcodes play a crucial role in connecting physical items to their respective identification systems. For ISBNs, a barcode is often generated from the number itself and is printed on the back cover of a book or score. When the barcode is scanned, the number is instantly recognized by systems in bookstores, libraries, and other retail environments. This enables automated processes such as pricing, inventory management, and sales tracking.
Parts of an ISBN and ISMN
Identifiers, in general, have four parts to the number that indicate prefix, publisher, product and check digit (ISBNs will also identify a group element or country). While it may not be necessary to know which part of the number provides each piece of information, it is important to know that these numbers identify the publisher and product.
Songburd Connect can provide free numbers to use with products (requested, but because these numbers are specifically assigned to publishers and distributors they are not transferable should you want to use another service. This is why we recommend providing your own number when first uploading your music.
How do I get an ISBN or ISMN?
Each country has a disgnated agent or company that assigns or tracks these numbers. In the United States, ISBNs are assigned by Bowker and ISMNs are assigned by the US Library of Congress.
Standard wrap around cover for saddle stitched (stapled) scores and books. Can be printed with or without bleed. If you would like color to extend to the edge of the paper, your file will need to add 0.125 inches for bleed margins.
Folio Cover (Wrap Cover)
The folio cover is used house the parts and/or score for the music. The spine of the folio cover should be wide enough to hold the parts and/or score. If you are not sure how wide the spine should be, email us at support@songburdmusic.com and we can help.
Covers for Coil Bound
Covers with coil bound are similar to standard covers except that they will not wrap around at the spine. Instead you will need to upload two separate files: a Front Cover and a Back Cover.
Need templates to help you format your cover? Download cover templates here.
Saddle stitched scores are stapled at the spine to keep the cover and score content together. This is the default for standard sized scores (8.5 x 11 in & 9 x 12 in) or scores/booklets with less than 60 pages.
Coil Bound
Coil Bound scores use a plastic coil to bind the cover and score content together. This is the default for oversized scores (11 x 17 inches) or scores with 60 or more pages.
Additional binding formats such as perfect bound or lay flat are available for short run printing only.
Part Formats
Default (Printer Recommended)
This option means you want the printer to choose the most common and cost effective way to produce the part. Below are the formats that we consider default based on the type of part/page count.
2 Pages – Folded part with content printed on the outside (pages 4 and 1)
3 to 4 pages – Folded part with content printed in page order (pages 1, 2, 3 and/or 4).
5 or more pages – Printed in page order and stapled. If you do not want your part stapled then you should specify “Folded (not stapled)” from the “Print Specifications” dropdown.
Stapled
Parts with 5 or more pages will be stapled at the fold line. If you select “Default (Printer Recommended),” your parts will print automatically with this format.
Folded (Not Stapled)
This option is available for parts with 2 or more pages. This is the default for parts with 2-4 pages. For parts with 5 or more pages, you will need to select this option form the dropdown.
Taped
Parts with 3 or more pages can have the option to be taped between pages 2 and 3, or between pages 4 and 5.
The invention of the printing press by Johannes Guttenburg in the 1400s revolutionized the world of publishing. Suddenly, mass-producing information became affordable and accessible, creating a new gateway to communicate with the world. Today, we have an even more versatile innovation in printing and publishing – print-on-demand!
Print-on-demand is a method of digital printing that enables you to print only the required amounts of a score or book, even a single copy. Previously, publishers or authors had to produce larger quantities, but with print-on-demand, a score is produced only when a customer places an order.
Here are four key things you should know about print on demand:
Cost Efficiency
Although the cost to print a single copy can be slightly higher than for a short print run, print-on-demand eliminates the need for investing all your money upfront with the hope that composition is a major hit. Editions are only printed when the order is placed.
Reduces Waste
Prior to print-on-demand, publishers would have to estimate the interest in a book, score, or product and produce a run based on sales projections. Because of the upfront costs associated with publishing (artists, legal, editing), publishers need to recoup as much of their investment as possible to make a profit. However, if a work fails to sell, money and paper are wasted. Print-on-demand allows you to produce a single copy only when a customer places an order. This way, you can gauge the success of the work over time before printing a short run of copies to reduce printing costs.
Eliminates Inventory or Warehousing
With print runs, you need to store the inventory until it is sold. However, if you are not set up to keep inventory in a clean, controlled environment, this can be a costly investment. Since print-on-demand allows for shipping directly from the manufacturer, you no longer need to warehouse any inventory.
Flexibility to Make Changes
If you discover a glaring error in your symphony or book, you can make changes without having to live with misprints or editorial errors when orchestras or readers purchase your work in the future. Since print-on-demand doesn’t require producing a large number of copies upfront, you have the flexibility to make corrections when you find them. However, we still recommend hiring an editor and engraver for all your projects. This way, you can ensure that your work has less errors and is of the highest quality before going to print.
Does Songburd offer print-on-demand?
Yes! We offer print-on-demand for most common formats and sizes. Check out our different print options.
