Foreign sub-publication agreements: the foreign sub-publishing agreement is similar to a management contract. The only difference is that the publishing house makes a contract with another publishing house in a foreign country to represent its catalogue in this territory. If z.B. an American publishing house wants a publisher in England to present its catalogue in the United Kingdom, or if a publisher in France wishes to have its catalogue represented in the United States by an American publishing house, the agreement is referred to as a sub-publication agreement. As in the case of the administrative agreement, representation is limited to a fixed term (usually no less than 3 years) and the fees that foreign under-sales withhold for its services are negotiable within certain limits. Under an exclusive songwriter contract or a “collaborator-writer” contract, the songwriter generally transfers the entirety of the publisher`s share to all songs written during the term of the contract to a publishing house. Often, music publishers want to buy a group of songs or all songs from a songwriter or other music publishing house. Music publisher Ole`Music, who bought the rush catalogue called Core Music (i.e. songs from the classic rock band Rush) was a recent example in the news.

A purchase usually takes place only with songs that have earned income and/or are currently earning. (Comparisons with a single song-arrangement above, which is usually (1) for a small group of songs and (2) for songs that have not yet won royalties). The purchase price is usually determined from formulas based on historical song catalog revenues and estimated future earnings. In short, there are four kinds of agreements between the music publisher and the songwriter that are most common: 1) the Single Song Agreement, 2) the exclusive Songwriter Agreement, 3) the co-publishing agreement and 4) what I would call a catalog sale contract. The world of music begins with a creative effort – the song. What happens next with this song is the music business. Often, the first contact a songwriter has with this business side of music is by dealing with a music publishing house.