This past year, I’ve been working toward upping my publishing game. (I’ve got a rant about publishing coming up in another post, so be prepared for that.)
One of the steps I’ve taken toward putting on my Big Boy publishing pants was to get an EIN and a bank account specifically for the Tobenski Music Press. (For those of you following along at home, an EIN is free, and you can get one online; and Spark Business has a great small-business-centric set of online-only accounts that don’t have balance minimums or monthly fees, which is great when your cash flow isn’t huge.)
Another step was to sign on with two distributors: SheetMusicPlus and MusicSpoke. Having my works available in more places means more visibility, and the possibility for more sales (and consequent performances). I have my eye on a few more. J.W. Pepper and Subito both have distribution programs for self-published composers, but both charge a yearly fee to participate (although the fee is waived if the composer meets a certain yearly threshold of sales). I’ve got to weigh the possible benefits against the cost, and for the moment, the cost isn’t very attractive. I’ve also yet to reach out to a few more possibilities who don’t publicly advertise that they distribute self-pubbed works, but with whom I have connections.
The biggest, most time-consuming thing I’ve been doing is to revisit all of my scores with an eye on the engraving. Every score is getting a complete makeover: respelling rhythms, cleaning up compositional artifacts that didn’t get caught in the first editions, simplifying the ways that I notate certain passages, making sure that tempi and dynamics are clear and consistent.
Every score gets a new cover, front matter (title page, title verso, texts, program notes, and premiere and recording information), and back matter (specifically: a call to action listing similar scores in my catalog).
I’ve also registered as a publisher with the U.S. ISMN Agency at the Library of Congress (h/t to Juliana Hall and her article in IAWM for the info on that). Each new score gets registered there, and the ISMN goes onto the title verso.
At the moment, I have five pieces out with the distributors – one song cycle, three standalone songs, and a piano piece – and another ten that I’m in the process of proofreading. For composers interested in learning more about the process, you can follow along here as I post more about it, or feel free to email me if you have specific questions. And for composers who are familiar with distributors, etc, I’m interested in learning about your experiences, and am always happy to hear from you via email.