In the role of Music Designer / Wind Arranger:

• In preliminary design meetings, provide input for potential show concepts, musical choices, pacing and program effects and be responsible for the creation of the core music design. Create temp tracks as musical selections are discussed.

• General timeline: Part 1: [delivery date], Part 2: [delivery date], Part 3: [delivery date]. Specific delivery dates to be confirmed with the Program Coordinator and Director of Bands.

• Craft the entire musical program for the winds and brass. Deliver PDFs and mp3s of the winds and brass music book, as well as notation files for percussion arrangers via Sibelius Document or Music XML files.

• Edits as needed through the design process based on feedback from the Design Team. Specific tasks communicated by the program coordinator.

Note: Put your delivery dates in writing even if they feel loose right now. "TBD" becomes a problem by April. Get the timeline locked in early and note that specific dates are confirmed with the director.

In the role of Sound Designer:

• In preliminary design meetings, provide input for potential show concepts and musical choices, both general and specific to electronic integration, as options are being discussed.

• Assist in the temp track creation process as needed. Create source files that Wind and Percussion arrangers can use as a starting point for overall program pacing.

• Edits as needed through the design process, prior to Wind Arranging, on pacing of the music book based on feedback from the Design Team. Specific tasks communicated by the program coordinator.

• Craft the electronic layer in coordination with percussion and wind arrangers once the initial score is complete. Deliver a MainStage file, Sibelius Document, and PDFs with Synth parts.

• Create high quality mp3 mockups for the team and students, with and without metronome click-track.

• Assist the educational team in implementing the sound design package and provide feedback on overall production quality during pre-season and the competitive season.

• Delivery of Materials in consultation with Percussion Arrangers and Director of Bands. Generally 2-4 weeks after receipt of percussion book.

Note: Sound design happens downstream of the wind book. Make that dependency clear in your SOW. Your delivery timeline starts when the winds or percussion scores are approved, not on a calendar date you agreed to in January.

In the role of Front Ensemble Arranger:

• Construct and prepare the front ensemble score to the instrumentation provided by the ensemble.

• Coordinate with Winds, Battery, and Sound Designer to create a cohesive musical product.

• Assist in edits as needed, as communicated by the band director or program coordinator.

• Deliver PDF parts, FE Scores, and front ensemble mp3s per movement.

• Front ensemble orchestrations will be completed as quickly as possible. A minimum of 2 weeks is required to construct the full and detailed score per movement once winds and battery have been written.

• Coordinate with the Sound Designer on Synth and Sound Design elements. Ultimate responsibility over the electronics score and its implementation resides with the Sound Designer.

• Resale of the Front Ensemble scores must be negotiated directly. All work done is a work for hire only for the use of [Organization Name + Year].

Note: Include the work-for-hire clause. By default someone else can't sell your orchestration. If another arranger wants to reuse or resell your work down the road, that is a separate conversation with a separate party.

In the role of Percussion Arranger and Sound Designer:

• Construct and prepare the following scores to the instrumentation provided by the ensemble:
   – Battery
   – Front Ensemble
   – Sound Design + MainStage File

• Assist in edits as needed, as communicated by the band director or program coordinator.

• Deliver PDF parts, Percussion Scores, mp3s, and MainStage file.

• Deliver fully produced files including winds and click tracks for the drill writer.

• Delivery timeline approximately [X to X weeks] after approval of each movement and receipt of the wind book and pacing.

Note: Tie your delivery to a trigger, not a date. "4 to 6 weeks after the approved wind book lands in my inbox" protects you if the winds run late. A hard calendar date does not.

In the role of Design Consultant:

• In preliminary design meetings, provide input for potential show concepts and musical choices, both general and specific to electronic integration, as options are being discussed.

• Create temp tracks as musical selections are discussed. Create source files that Wind and Percussion arrangers can use as a starting point for overall program pacing.

• Edits as needed through the design process, prior to Wind Arranging, on pacing of the music book based on feedback from the Design Team. Specific tasks communicated by the program coordinator.

In the role of Clinician:

• Travel to [school or organization] for [number] production rehearsal weekend(s), dates to be agreed upon.

• Travel and hotel booked by [your business name] at a reasonable seasonal rate, to be reimbursed by [client name].

• Additional trips and clinicians to be negotiated outside the scope of this contract.

Note: Book travel yourself and get reimbursed. You control the itinerary, you earn the points, and you are not waiting on a purchase order to get moving.

Fee for services rendered:

• $[total fee]
• Term: [start month/year] through [end month/year]

Payment Schedule:

• $[deposit amount] to be paid as a deposit prior to [date].
• The balance paid before [date] or at the completion of the work, whichever comes first.
• Installments can be arranged.

What works: A 20 to 25% deposit upfront with the balance due before the competitive season starts, not at project completion. By the time competition season rolls around the work is already done. If you wait for "completion" as the trigger and a client goes quiet in October, you have no leverage.