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of introducing same, also enabling the music dealer, should he have a call for the piece, to have one or more copies on hand so that he may know that the piece is published and by whom; also the copies that are given away to professional singers, soiled copies, etc., are not, of course, included among those on which royalty is paid. It is needless to add that a reliable publisher invariably exercises a judicious control as regards the circulation and disposition of copies on which there is no royalty given.
By placing your composition with a publisher of music you are relieved of all expense and speculation and the time that would otherwise be devoted to its promotion and sale is saved. The publisher, after acceptance of your composition, assumes entire control of it and everything connected with it, from the time of its acceptance to the day on which it appears on the market. Having at his command countless channels and avenues for its exploitation and sale, he stands in a far better position to promote success for a good composition than the private individual could ever hope to attain.
Royalty contracts offered by the representative publishers differ in many of their minor points, but their general and main features are nearly all the same.
Twto cardinal points to be looked into when a contract is offered and received for your signature are:
(a) The amount of royalty offered; and,
(b) A time limit for the publication of "regular" copies
(that is the copies offered for sale) to be set, so that if the composition is not published within the period stipulated (usually six months) the owner of the Ms. is at liberty to dispose of it elsewhere and the Ms. will be returned to him on demand. |
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