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Day 13 Topic 1
You’re a singer—and a collaborator. That means you work with pianists, directors, conductors, composers, producers, presenters, and…friends. Today we’ll turn “Let’s put on a show!” into a repeatable system: clear roles, written terms, sane timelines, and kind feedback. The goal? Ship art together and want to do it again. Work begets work!
Why it matters
- Clarity protects friendships. Model contracts exist for a reason; drafting simple agreements early prevents “but I thought…” drama later. (Dramatists Guild offers collaboration agreements for authors and devised theater teams.)
- Music rights differ by context. Background/non-dramatic uses (e.g., most recitals) are covered by venue PRO licenses (ASCAP/BMI). Staged operas/musicals = grand rights you negotiate directly with the publisher (e.g., Boosey & Hawkes). Even a concert performance can trigger grand rights depending on scope.
- Professional cadence matters. Short, time-boxed check-ins and a simple roles matrix (RACI) keep creative projects moving without micromanagement.
- Psychological safety drives teams. Google’s Project Aristotle (and follow-ups) highlight psychological safety as a key factor in team effectiveness; feedback models like SBI (Situation-Behavior-Impact) keep notes specific and humane.
Your Collaboration Playbook (step-by-step)
1) Kickoff (60 minutes, cameras on if remote)
- Purpose & promise: What are we making and for whom?
- Success criteria: What “shipped” looks like (date, venue, runtime, audience size/goal).
- Roles snapshot: Who’s Responsible, Accountable, Consulted, Informed (RACI) for music, staging, marketing, money, venue, rights. (Keep this to one page.)
2) Write it down (light-weight, friendly)
- MOU (Memorandum of Understanding) or Collaboration Agreement covering: scope, timeline, $$, IP/recording, crediting, decision rules, exit/replace plan, dispute path. (Use an MOU template or a model collaboration agreement as a starting point.)
- Money splits: Flat fees first; if profit share, define recoup → split waterfall.
- Composing/arranging? Use a split sheet to document percentage ownership (adds to 100%).
3) Cadence & hygiene
- Weekly 15-minute standup (What shipped? What’s next? Any blockers?). Time-box it.
- Shared tracker: one sheet with tasks, owners, due dates, and status colors.
- File naming & links: one cloud folder; version with dates.
4) Rehearsal etiquette (mini-code)
- Be early, scores marked, tempi decided. Give your pianist clean music in advance; mark cuts/fermatas; lead tempo with breath/first line.
- Breaks are real. Union CBAs often require rest after ~90 minutes; treat that as a humane baseline even if you’re non-union. (Specific terms vary by contract/company—see AGMA examples.)
5) Feedback that doesn’t bruise
- Use SBI: Situation (“in the trio run-through”), Behavior (“cut off the pianist’s cue”), Impact (“ensemble slid out of sync”). Then ask for their read.
- Keep notes specific, actionable, and kind. Save taste debates for after you meet the brief.
6) Rights & permissions (don’t wing it)
- Public vs. private: If the event is public or ticketed, the venue typically needs a PRO license for non-dramatic music.
- Grand rights: Staged opera/musical (even “in concert” in many cases) → negotiate with the publisher. Don’t assume a PRO covers it.
- Public domain: PD repertoire = simpler, but verify status for your jurisdiction. (When unsure, ask a VLA.)
7) Close the loop (post-mortem = pre-launch for next time)
- One page: what worked, what to change, what to repeat.
- Send “Thanks + takeaway + clip” to hosts/press/guests within 24 hours—then log contacts. Work begets work.
Minimal Docs (copy, paste, customize)
A) One-Page MOU (skeleton)
- Parties & purpose (project name, dates, venue).
- Scope & deliverables (runtime, forces, two deliverables each).
- Timeline (rehearsals, tech, show).
- Money (budget owner, expenses, recoup order, profit split %, payment dates).
- Rights/recording (who owns video/photos; how usage is licensed).
- Credits (exact billing; order; how to list in programs/web).
- Decision rule (tie-break: director/producer/majority vote).
- Exit/replace (how a collaborator can step out, notice, replacements).
- Dispute path (cool-down → mediator → walk-away). (Use NEFA/Creative Work Fund MOU notes as a checklist; adapt to your context.)
B) Micro-RACI (example)
| Task | R | A | C | I |
|---|---|---|---|---|
| Rights & repertoire | Producer | Producer | Music Director | All |
| Rehearsal plan | MD | Director | Pianist | Cast |
| Budget & payments | Producer | Producer | All | All |
| Marketing/press | Marketing Lead | Producer | Director | Cast |
| Recording/photography | Producer | Producer | Director | All |
| (R=does the work, A=decision owner, C=consulted, I=informed) |
C) Split Sheet (for co-writing/arranging)
- Work title, collaborators, emails.
- Writer % totals = 100%.
- Publishing share (if any).
- Signatures & date. (Use ASCAP/Songtrust templates as references.)
Not legal advice. When stakes rise, run your doc past Volunteer Lawyers for the Arts or a local arts attorney.
Common mistakes (and fixes)
- Handshakes only. Fix: a one-page MOU with dates, dollars, and decision rules.
- Fuzzy roles. Fix: 5-row RACI so everyone knows who decides and who executes.
- Avoided feedback. Fix: SBI once per rehearsal block; keep it behavior-based.
- Rights blind spots. Fix: PROs for non-dramatic uses; publishers for opera/musical grand rights (often even “in concert”).
- Rehearsal fatigue. Fix: Protect breaks (aim for ≤90 minutes without one, mirroring union norms).
Pro tips
- Decide the tie-breaker on day one. “Producer breaks ties after hearing Director/MD.”
- Name the show. A title makes marketing, files, and grants easier.
- Track goodwill. Note who helped; send thanks + tag them in the recap.
- License photos & video. Put it in the MOU (credit line, where/how you may post).
- Quarterly collaborator list. Keep a living doc of pianists, venues, videographers, and directors who were great to work with.
Assignments (ship this week)
- Host a 45-minute kickoff for your next DIY program. Fill the one-page MOU and micro-RACI.
- Schedule 3 weekly 15-minute standups between now and the show; put them on calendars now.
- Create & sign a split sheet if anyone is arranging/composing with you.
- Rights check: confirm PD or request a quote from the publisher if grand rights apply.
References & Further Reading (Topic 13.1 — Collaboration)
Model agreements & MOUs
- Dramatists Guild — Collaboration Agreement (authors): https://www.dramatistsguild.com/benefits-and-services/collaboration-agreement
- Dramatists Guild — Devised Theatre collaboration models: https://www.dramatistsguild.com/benefits-and-services/devised-theatre-contract-collaboration-agreement-solely-between-writers and https://www.dramatistsguild.com/benefits-and-services/devised-theatre-contract-collaboration-agreement-between-writers-and-non
- Creative Work Fund — Creating an MOU (what to include): https://creativeworkfund.org/collaboration/creating-an-mou/
- VLAA — Anatomy of a Contract (plain-English guide; PDF): https://vlaa.org/wp-content/uploads/2019/12/Contracts.19-1.pdf
Rights & licensing
- Boosey & Hawkes — Grand rights (opera/dance/musicals): https://www.boosey.com/pages/licensing/RandL_Opera_Dance_Musicals and FAQ: https://www.boosey.com/faq/Opera-Dance-Musicals/101184
- University of Oregon OER — Dramatic musical works (grand vs small rights): https://opentext.uoregon.edu/payforplay/chapter/chapter-27-dramatic-musical-works-pay-for-play/
- ASCAP — Song split sheet (PDF) + splits explainer: https://www.ascap.com/~/media/files/pdf/articles/2018/song-split-sheet-for-5-writers.pdf ; https://www.ascap.com/splitsvilleusa
Team habits
- Atlassian — What is a RACI chart?: https://www.atlassian.com/work-management/project-management/raci-chart
- Mountain Goat Software — Daily Scrum (15-minute standup): https://www.mountaingoatsoftware.com/agile/scrum/meetings/daily-scrum
- Google re:Work — Project Aristotle / team effectiveness: https://rework.withgoogle.com/intl/en/guides/understanding-team-effectiveness
- Center for Creative Leadership — SBI feedback model (PDF): https://www.facs.org/media/pshbyz4v/sbi-feedback.pdf
Rehearsal etiquette & norms
- CS Music — Singer & Accompanist Etiquette 101: https://www.csmusic.net/content/articles/singer-and-accompanist-etiquette-101/
- AGMA examples (break norms vary by CBA): OTSL Agreement excerpt (breaks after ~90 minutes): https://www.musicalartists.org/wp-content/uploads/2024/07/OperaTheatreofSaintLouis.MemorandumofAgreement.2024-2029.pdf
Artist-support organizations
- Volunteer Lawyers for the Arts (NY) + national directory: https://vlany.org/
Start with kindness and clarity. Put the deal in writing, protect the rehearsal room, and give feedback like a pro. That’s how you build ensembles that like working together—and keep calling you back.