What constitutes an arrangement?

An arrangement is the creative adaptation of a work. In order for any adaptation to qualify as an arrangement, the creative contribution of the arranger must be readily identifiable. In other words, the arranger inserts new musical elements into the work that were not included in the composer’s original work.

The following do not constitute an arrangement:

  • Instrumentation without creative input.
  • Drafting of “easier” versions.
  • Changes to key or register.
  • Recreating an arrangement by ear.
  • Minor changes and the performer’s interpretative contribution.
  • Adding or removing doubling parts.

Changes that do not entitle you to arrange shares

For an arrangement to qualify for a share, it must be a creative adaptation of the pre-existing work. The creative contribution must be readily identifiable, regardless of who performs the work. The arrangement must cross the “arrangement threshold”.

The following do not constitute an arrangement or adaptation qualifying for a share:

1. Adding dynamics or agogics.
2. Adding phrasing and fingering indications.
3. Adding registrations (for organ).
4. Adding performing indications, or a performer’s interpretative contribution.
5. Correcting errors in the original, or other similar editing.
6. Transcribing historical or otherwise unusual notation into conventional musical notation.
7. Instrumentation without creative input.
8. Drafting of “easier” versions for all the performers or certain instruments (e.g. the reduction of original parts, simplification, etc.).
9. Adding chord symbols to a melody, realising a basso continuo part, or adding a stylistic element without a creative contribution.
10. Transposing a work or individual parts therein to another key, or for other instruments or voices (transpositions and transcriptions).
11. Adding or removing doubling parts.
12. Recreating an arrangement by ear, for instance.
13. Adding ornamentation.
14. Making any other editorial changes similar to the above.