I'm always reevaluating what I charge for arrangements, so I thought I'd ask this forum what your average going rate is. Feel free to answer the poll without posting a response if you'd like to keep your rate private.

I usually get gigs that are ";all-inclusive"; - they usually include writing music, teaching/supervising, writing drill (winter lines), etc.  And when they ask what I charge for the whole season, I usually see how much time is involved, how much writing, driving time, etc...and then figure out a total price that I think will be worth my time & work.  Whatever that amount is, I break it down into how much I'm ";charging"; for each part of the job - which I variate to work with my overall rate. 

But most of the time, the actual music composing/arranging price comes out around $150 - $100 for each minute written.  I've gone to the $ per minute rather than $ per piece/song because that rate isn't always fair for the person writing the music. :) 

I may have broken the $2500 mark once or twice for a whole season out of ~20 fall/winter gigs... Just throwing in my 2 cents.

Depends on the group and the people involved.  I'm the kind of guy who will take less to write, if thats all that can be done.  One group I wrote for 500 2 years ago, then 550 this year (they had me do traps and battery) and next year I think they want full percussion, so the price will go up again.  Another group gives me 1000 for writing and another about 900.

Depends on the group and their ability level.�� Maximum is $2400 and that's for winds [b]and[/b] percussion and a demanding show design.�� Any work (rewrites, teaching, etc.) beyond that is additional, but negotiable.�� Most of my percussion (batterie & front ensemble) work runs $1000 to $1200; occassionally less - rarely more (also rates are influenced by rush jobs because the director was late/slow/whatever).

Good post Eric.�� A reality check from time-to-time is good.

I hope this doesn't start a tangent, but here's another question:  How much should you charge if you're just starting out?  So far I've only written one pit book, but I'm about to have a composition degree, so there will likely be more.  What's a reasonable entry-level rate compared to what you more experienced writers charge?

When I started, there weren't too many percussion arrangers around.�� So take my advice with a grain of salt as to what it is worth in terms of the present.

I realized after writing a few shows (early to mid 70's) that I was not charging enough.�� With that said, I believe you must have a worthy product, be willing to get your foot in the door (so to speak), be reliable as far as what you agree to, and have a good understanding of the music prgrams in your area (their financial stability, reliability as far as payment, and their musical soundness).�� I did a few freebies occasionally just to get noticed; nothing complicated, just a cadence or short drum feature.�� Also, consider your own worth as to what you are able to offer.�� Ask yourself this question: In terms of what you charge, does it make you feel like you are a musically contributing composer/arranger or a con artist?

In so many words nervoustic, my opinion is that only you can determine what to charge.

Ok guys, so here's my current situation, I was asked to do the ";book"; for our summer camps here at Sam Houston. In the book, he wants simple exercises that groove, that get the job done and that are not that hard... I have an idea of some stuff to put in there, but I thought I would ask around here as well... so any suggestions? Also, I was asked to write something new, since i have VDL and all lol, for the camps. He said this could be original or an arrangement of something. So another question I have is that I am leaning towards original, and want to try to go for a Latin feel. Any suggestions on this as well? I can write some pretty decent latin battery and bass parts, but my problem comes in writing the melodic line. Any and all help would be great. Sorry I know this is off topic for this particular thread, but I thought since this just came up yesterday, and this thread was going, and it kind of has something to do with arranging, I would tag it here.

Thanks guys!

Justin this may seem like a smart-alecky answer but [u]its not meant to be[/u].�� Use your imagination and use the groove of your exercise, and... well... create your melodic line.�� Without stealing other melodies, listen to some music styles that might be similar to what your are planning for your grooves and work up melodic material that has a similar quality.

I had a published composition teacher tell me once that you have to write to get the **** out and then, lo and behold, good stuff starts happening.�� His point was that you will never write anything good until you start writing.�� Eventually the good will surface.�� That was some of the best composition advice I ever received.

Good luck.

I almost forgot: Decide on what you are trying to achieve with your ";melody"; so there is some logical progression in your exercise to develop technique and control.��

[quote author=southerncomfort link=topic=2334.msg12363#msg12363 date=1204763210]

I had a published composition teacher tell me once that you have to write to get the **** out and then, lo and behold, good stuff starts happening.�� His point was that you will never write anything good until you start writing.�� Eventually the good will surface.�� That was some of the best composition advice I ever received.
[/quote]

I second that. My wife is also a writer, and has shared similar advice. Whether it's writer's block, or just trying to refine an idea, the best way to develop ideas is to [u]just write[/u]. If it's bad, you'll probably know it, which usually aims you in a more productive direction. The hardest part is just getting started (still my biggest hang up when starting a new piece). With momentum on your side and the creative juices flowing, ideas tend to flow more easily than we sometimes expect.

I heard an interesting interview on NPR last year with author, Walter Mosely who recently published a book called [i][url=http://www.amazon.com/This-Year-Write-Your-Novel/dp/0316065412/ref=pd_bbs_sr_4?ie=UTF8&s=books&qid=1204766600&sr=8-4]This Year You Write Your Novel[/url][/i]. One of the principles of his advice to aspiring writers is his mantra: mantra: Write every day���without fail, every day, no excuses.

Now, I need to go take some of my own advice and get some work done. :)

[quote author=Jim Casella link=topic=2334.msg12364#msg12364 date=1204766957]
The hardest part is just getting started (still my biggest hang up when starting a new piece). With momentum on your side and the creative juices flowing, ideas tend to flow more easily than we sometimes expect.[/quote]

I too suffer from this procrastination disease.�� For a long time I thought it was just me.�� Over the years I realized that it is ";normal"; for some.�� Of course, the paradox is that I love to ";connect the dots"; (write music).�� The only thing I can figure is that I am slow to start because it is such an absorbing process once I do get going - almost as if I have a one-track mind.

Don't I know it. Without trying to sound too self-helpy, there's a great book on this called ";The Now Habit"; by Neil Fiore. It gets into the psychology of this sort of thing, which does tend to afflict creatively minded people in particular. It's one of those books that can be a good check-in if you often find yourself selectively distracted.

Thanks for that tidbit Jim.  I looked at it on amazon.com (their price is $10.17).  I'll see if I can find it this weekend at one of the local bookstores.

That's a great book Jim.  I had to read that for a business writing class in college, and it was one of the better books I've read recently.

As for writing fees, try asking what the school's writing budget is if you get offered a gig and are unsure what to call for a rate.  If it's a good number for you, take it.  If it's too low, tell them.

For those that have read ";The Now Habit,"; would you recommend it to someone who has procrastination habits or is this the kind of thing everyone should read? Speaking of which, we should make a thread on good book suggestions.

As far as the original topic of this post, I can't offer much help. I did just write a chart for a Thai marching band and happily did it free of charge because I was more interested in the experience. I've been told one of the most important things to do for people just ";getting into the game"; is to start in a weaker program where you can make your mistakes and find your stride, then move up from there.

-C

[quote author=Chris Leone link=topic=2334.msg12391#msg12391 date=1205137897]
I've been told one of the most important things to do for people just ";getting into the game"; is to start in a weaker program where you can make your mistakes and find your stride, then move up from there.
[/quote]

I'm going to agree with this comment wholeheartedly.  Experience for 5 dollars is much better than no experience for zero dollars if you're starting out.  As you gain experience, people will begin to say ";Hey... thats (name) or (program), and they have some great arrangements!";  At the very least, people might take notice.  For example, I've just started working with a new HS as a tech and the first thing the caption head said to me after finding out I worked with a different school was ";Did you write that school's book in '05?";  ";Yes, I did."; ";That was one hell of a book - amazing job. Yada yada yada.";

Also, you can meet people who can help expand your base of employment.  One of the guys I worked with at one school got me a gig writing for another.  This same guy is very involved with some NYSFBA groups and a few TOB and some other USSBA ones.  He's always willing to find me a new gig or two.

It also helps to just enjoy writing, which is what I do.  I don't do it for money, I do it because I enjoy it.