{"id":14425,"date":"2021-01-14T17:46:00","date_gmt":"2021-01-14T22:46:00","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=14425"},"modified":"2025-10-10T12:01:36","modified_gmt":"2025-10-10T16:01:36","slug":"songwriting-agreements-music-career","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/songwriting-agreements-music-career\/","title":{"rendered":"Why songwriting agreements are essential to your music career"},"content":{"rendered":"\n<p style=\"font-size:15px\" class=\"has-text-align-center\"><strong>Illustration:<\/strong> <a href=\"https:\/\/www.jordanemoss.com\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\"><strong>Jordan Moss<\/strong><\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">You probably don&#8217;t want to think about the administrative side of <a href=\"https:\/\/splice.com\/blog\/how-to-make-music\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>making music,<\/strong><\/a> but doing so will save you frustration in the long run.<\/h2>\n\n\n\n<p>Collaboration is at the core of making great music. You may be the songwriter, producer, performer, mixing \/ mastering engineer, or session musician for a project. But no matter how smoothly the creation process goes, the financial aspects of releasing music with other people can get bumpy. Using songwriting agreements to get terms down in writing early on helps relieve the tension.<\/p>\n\n\n\n<p>In this article, we spoke with three industry professionals\u2014a manager, an entertainment attorney, and a publishing exec turned music supervisor\u2014to better understand how songwriting agreements and split sheets work in various situations.<\/p>\n\n\n\n<p class=\"has-black-color has-text-color has-background has-link-color wp-elements-c3706cc98d779b0d6fb864120a14adaa\" style=\"background-color:#62daff\"><strong>Voice to verse\u2014anywhere. With the addition of Splice Mic, you can instantly test and record ideas, explore genres, and unlock new creative possibilities, all from <\/strong><a href=\"https:\/\/splice.onelink.me\/vNNn\/sozstw8b\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>the Splice mobile app.<\/strong><\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">What are songwriting agreements?<\/h2>\n\n\n\n<p>A songwriting agreement is a legal contract. It\u2019s a simple way to get all creative collaborators on the same page to avoid future conflicts. The most basic songwriting agreements include:<\/p>\n\n\n\n<ul>\n<li>A list of the people involved in a project (song, album, score, etc.)<\/li>\n\n\n\n<li>How the royalties of that project are split among collaborators<\/li>\n\n\n\n<li>Who owns the master rights and publishing rights to that piece of music (which is sometimes different people)<\/li>\n\n\n\n<li>Any limitations or guidelines around who can promote what, where<\/li>\n\n\n\n<li>Delivery timelines and deadlines<\/li>\n<\/ul>\n\n\n\n<p><a rel=\"noreferrer noopener\" aria-label=\"Nick Hanover, (opens in a new tab)\" href=\"https:\/\/twitter.com\/Nick_Hanover\" target=\"_blank\">Nick Hanover,<\/a> an artist manager who has worn many other hats within the industry, shared that his artists are often skeptical of any binding legal agreements. \u201cThey think it will ruin the magic if you assign percentages to the work at the beginning,\u201d he reflected. He helps them see that these agreements are a tool to protect them and their work.<\/p>\n\n\n\n<p>He also stressed that they can be changed at any time. If your collaboration evolves or more people join the project, these documents can be edited and re-signed. What\u2019s crucial is that you have something in writing <a href=\"https:\/\/www.shellypeiken.com\/blog\/splits-before-hits\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"at the very beginning of an endeavor, (opens in a new tab)\">at the very beginning of an endeavor,<\/a> so expectations are set and there is a record of what everyone agreed to. Nick said, \u201cAn agreement should be in place and signed before stepping into the first writing or recording session.\u201d<\/p>\n\n\n\n<p><a rel=\"noreferrer noopener\" aria-label=\"Alyce Zawacki (opens in a new tab)\" href=\"https:\/\/www.linkedin.com\/in\/alycezawacki\/\" target=\"_blank\">Alyce Zawacki<\/a>, who has an entertainment law practice in Austin, TX, knows that signing an agreement before working together isn\u2019t always realistic. She shared, \u201cI know it&#8217;s not always the most fun to discuss these matters upfront. People want to go in and have their collaboration flow naturally without having to think about the legal side of things. If you\u2019re not discussing it at the start, then immediately after the session has taken place is ideal. Beyond that, those discussions need to happen before anything is released.\u201d<\/p>\n\n\n\n<p>Alyce has seen clients walk into a session, sign what looks like a general agreement, and later discover they\u2019ve signed 50% of the copyright and the master away. Artists and producers should have their desired terms in mind when walking into any creative collaboration or partnership.<\/p>\n\n\n\n<p>Delivery times are the most commonly missed elements in these agreements, in Alyce\u2019s experience. If you need a producer to deliver your master recording by a certain date, specify that in the agreement. If they don\u2019t deliver on time, make sure they know they\u2019re in breach of contract, which typically (though not always) means payment can be withheld.<\/p>\n\n\n\n<p>There are also situations that call for a <a rel=\"noreferrer noopener\" aria-label=\"work-for-hire agreement, (opens in a new tab)\" href=\"https:\/\/www.legalzoom.com\/articles\/key-things-to-look-for-in-a-work-for-hire-agreement\" target=\"_blank\">work-for-hire agreement,<\/a> which is a more straightforward contract. Common use cases for work-for-hire agreements are working with session musicians, mixing engineers, or mastering engineers. These players are typically paid flat fees and don\u2019t own any of the rights to the piece of music or receive royalties. However, some artists recognize how hard it is to sustain as a session musician and will work out royalties with those who contribute to their music.<\/p>\n\n\n\n<p>In addition to avoiding conflict with collaborators, songwriting agreements also demonstrate your professionalism to <a href=\"https:\/\/splice.com\/blog\/how-sync-licensing-works\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"potential sync agents, (opens in a new tab)\">potential sync agents,<\/a> music supervisors, publishers, etc. <a rel=\"noreferrer noopener\" aria-label=\"Roanna Gillespie (opens in a new tab)\" href=\"https:\/\/www.imdb.com\/name\/nm2520520\/\" target=\"_blank\">Roanna Gillespie<\/a> worked in publishing with Universal and Polygram and is now a music supervisor for films like <em>The Tree of Life <\/em>and <em>Arlo and Julie<\/em>. She also teaches music business at Austin Community College. <\/p>\n\n\n\n<p>She said, \u201cLicensing companies will want to know that you\u2019ve handled your business around splits and royalties. If they use a song that isn\u2019t licensable because those details aren\u2019t worked out, their reputation is on the line. If a licensing company sent me a song with 10% of the rights uncleared, I\u2019ll think they\u2019re unreliable. There are so many options out there \u2013 there are so many licensing companies, music libraries, and publishers to go to.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">What are split sheets?<\/h2>\n\n\n\n<p>A <a rel=\"noreferrer noopener\" aria-label=\"split sheet (opens in a new tab)\" href=\"https:\/\/www.songtrust.com\/split-sheet-download\" target=\"_blank\">split sheet<\/a> is a straightforward table that outlines who earns what royalties. A split sheet always covers the composition rights, and sometimes the master rights.<\/p>\n\n\n\n<p>Alyce says, \u201cTypically, the ownership percentage is the same as the royalty percentage on the composition side, but it doesn&#8217;t have to be. On the master side, it&#8217;s common for the independent artist or label (if the artist is represented) to own 100% of the master copyright and give a producer 3 &#8211; 7% of royalties. In that example, the producer is earning income based on sales but doesn&#8217;t have ownership.\u201d<\/p>\n\n\n\n<p>If all involved parties agree on and sign a split sheet, it will most likely hold up in court but due to it not being as detailed as a formal agreement, it won&#8217;t cover you for important potential issues such as credits and exploitation rights.<\/p>\n\n\n\n<p>For artists who are already <a aria-label=\"working with a publisher, (opens in a new tab)\" href=\"https:\/\/splice.com\/blog\/experts-explain-music-publishing\/\" target=\"_blank\" rel=\"noreferrer noopener\">working with a publisher,<\/a> Roanna said, \u201cIf you don&#8217;t turn in your splits to the publisher, then they can&#8217;t register the song with the PROs. They also can&#8217;t really work [pitch] the song because supervisors work on tight deadlines and need songs that can be cleared almost immediately.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">How to split your rights and royalties<\/h2>\n\n\n\n<p>Unless you have a legally-binding contract determining other terms, <a rel=\"noreferrer noopener\" aria-label=\"The U.S. Copyright Act of 1976 (opens in a new tab)\" href=\"https:\/\/www.copyright.gov\/title17\/\" target=\"_blank\">The U.S. Copyright Act of 1976<\/a> applies to everyone in the industry. Alyce shared, \u201cThe U.S. Copyright Act says that when two or more people collaborate on a song, they automatically have equal ownership regardless of who contributed what \u2013 if there is no other agreement in place. It\u2019s important to get something in writing upfront because if a producer only added a small beat, the artist probably doesn&#8217;t want to share 50% with them.\u201d<\/p>\n\n\n\n<p>She continued, \u201cAlso, under that law, co-owners can equally exploit that copyright for non-exclusive purposes. Meaning that one party <em>could not<\/em> go get an exclusive label deal for that work, but they <em>could<\/em> license it for a non-exclusive sync placement without approval from the other party.\u201d<\/p>\n\n\n\n<p>Your collaboration will look different from others, which is why we suggest seeking legal council from a professional. However, we did our best to share some common split scenarios for different types of collaborations below.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Band agreements<\/h3>\n\n\n\n<p>In the case of a band working together, our experts unanimously suggested splitting all royalties equally. Nick pointed to R.E.M. as an example, as they\u2019ve been <a rel=\"noreferrer noopener\" aria-label=\"publicly vocal (opens in a new tab)\" href=\"https:\/\/www.atlantamagazine.com\/great-reads\/feeling-gravitys-pull-r-e-m-has-become-americas-answer-to-the-beatles\/\" target=\"_blank\">publicly vocal<\/a> about why they split everything evenly. He said, \u201cEven if you\u2019re the primary composer in the group, you might want to consider splitting everything equally with your partners if you intend on working with them for a long time. Things can get very complicated and messy.\u201d<\/p>\n\n\n\n<p>Roanna shared that when she was in publishing, she advised bands. \u201cIf you don&#8217;t want problems in your band, you also don&#8217;t want inequities in your band,&#8221; she tells us. &#8220;Imagine if you and that guy over there are buying a house and your bass player and drummer are living with three other people eating Top Ramen. That doesn&#8217;t build a family; it doesn&#8217;t make them feel part of it.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Music marketplaces<\/h3>\n\n\n\n<p>Splits get more complicated in non-band collaborations. Nick pointed to one of his artists, <a rel=\"noreferrer noopener\" aria-label=\"Kady Rain (opens in a new tab)\" href=\"https:\/\/www.kadyrain.com\/\" target=\"_blank\">Kady Rain,<\/a> who has purchased instrumentals from SoundBetter in the past. He said those relationships tend to be more transactional, as beat makers are more interested in <a rel=\"noreferrer noopener\" aria-label=\"selling their beats (opens in a new tab)\" href=\"https:\/\/splice.com\/blog\/make-living-beat-maker\/\" target=\"_blank\">selling their beats<\/a> than <a href=\"https:\/\/splice.com\/blog\/how-to-write-a-song\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"writing a song (opens in a new tab)\">writing a song<\/a> together.<\/p>\n\n\n\n<p>With fictional numbers, he illustrated a situation where an artist might pay $1,000 for an instrumental and split the publishing royalties 50\/50 with the creator of that beat. Or, they could pay $2,000 and the artist making the purchase retains all rights and control of the instrumental. In those situations, there\u2019s room for negotiation but the base terms are clearly laid out. There\u2019s less emotion involved in coming to an agreement.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Songwriter and performer agreements<\/h3>\n\n\n\n<p>In most cases, songwriters will find that there\u2019s more money in publishing (writing for other artists) and writing for syncs than there is selling albums, according to Roanna. She suggests that like with a band, if the collaboration feels equal\u2014everyone is in the room contributing\u2014the split should be equal. You never know when two words will lead to a hook. She added, \u201cThere are situations where the most powerful person in the room\u2014perhaps the beat maker who made the foundation of the song\u2014can say, &#8216;I get 50% and y\u2019all split the rest.&#8217;\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Producer collaborations<\/h3>\n\n\n\n<p>Producer collaboration agreements have become increasingly important as their role has become more integral in popular music.<\/p>\n\n\n\n<p>Alyce reflected, \u201cPreviously, the producer would come in to give their opinion on the overall sound mixing and mastering process. They were there to provide some guidance to the artists. Now, a lot of the time producers are providing beats or stems or are adding lyrics and are much more involved in the creative process. When you have a producer acting in that role, they\u2019ll usually want some ownership in the copyright of the master or composition, or want some larger royalties on the backend, which are called producer points, in order to give up part of the ownership pie.\u201d<\/p>\n\n\n\n<p>Nick shared, \u201cI&#8217;m always trying to get my artists and producers to retain publishing because that\u2019s where the real money in music is. Imagine if Beyonc\u00e9 approached you with a choice of a $10,000 fee and no publishing royalties or a $100 fee with publishing. In that case, you\u2019re way better off taking the low fee with publishing. But if it\u2019s an emerging artist without much of a reach and you need the money, taking the bigger fee could make more sense.\u201d<\/p>\n\n\n\n<p>Roanna added, \u201cThe producer who makes the beat that the song is built on should establish their terms from the start. Today, a song will get passed around to tons of people and the splits can get very messy. Maybe they contributed 80% of the song but will only see 2.2% or something ridiculous. When I say that I&#8217;ve cleared songs that have had 10 &#8211; 12 writers on them where writers have 1% or 2% of a song, I\u2019m not kidding.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Registering with a PRO<\/h2>\n\n\n\n<p>Nick suggests all artists\u2014but especially independent producers and instrumentalists\u2014register with Publishing Rights Organizations (PROs) like <a aria-label=\"BMI, (opens in a new tab)\" href=\"https:\/\/www.bmi.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">BMI,<\/a> <a aria-label=\"ASCAP, (opens in a new tab)\" href=\"https:\/\/www.ascap.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">ASCAP,<\/a> or <a aria-label=\"SESAC (opens in a new tab)\" href=\"https:\/\/www.sesac.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">SESAC<\/a> in the U.S. He said, \u201cIt gets tricky when shopping your work around because you want people to hear what you can do, but you don\u2019t want them to steal it. A PRO will track that for you.\u201d<\/p>\n\n\n\n<p>He continued, \u201cA lot of artists think it\u2019s expensive to register your work, but it\u2019s not in the grand scheme of things. It\u2019s about $150 if you\u2019re self-publishing and $250 if you\u2019re an LLC. Copyright is a little more expensive, but they\u2019ll help you navigate that too. We\u2019re lucky because we have a BMI office in Austin. Pre-pandemic, I\u2019d send my artists there and a rep walked them through the process.\u201d<\/p>\n\n\n\n<p>He said that with streaming, registering your work is more important than ever. Kady Rain had an occurrence where a song blew up in Malaysia because it was added to a program played in malls. Once they tracked down where all these new fans heard her music, they discovered she had all this money waiting in an account she needed to claim.<\/p>\n\n\n\n<p>He shared, \u201cI\u2019ve read there\u2019s something like $2.5 billion in unclaimed royalties [referred to as <a rel=\"noreferrer noopener\" aria-label=\"\u2018black box royalties\u2019 (opens in a new tab)\" href=\"https:\/\/www.synchtank.com\/blog\/the-music-licensing-collective-mlc-unclaimed-royalties-study-whats-the-deal\/\" target=\"_blank\">\u2018black box royalties\u2019<\/a>] that are just lying around. If you register with them, you\u2019ll learn about that money your music could be earning.\u201d However, PROs only collect income from performance royalties. To collect your mechanical royalties, you\u2019d need a partner like the Harry Fox Agency.<\/p>\n\n\n\n<p>Roanna said, \u201cThe only way you can earn performance income is by being signed up with a PRO. Or, if you&#8217;re an independent artist releasing your music with Tunecore or CD Baby and you&#8217;re not signed up with a PRO, they will still collect your performance income for you in certain mediums. But, I always tell songwriters the first thing you should do is meet with a writer rep at a PRO.\u201d<\/p>\n\n\n\n<p>We know this side of the industry can be\u2026 frustrating. Hopefully, we\u2019ll see new solutions in the near future.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Entertainment lawyers (generally) want to help the indies<\/h2>\n\n\n\n<p>You can hire an entertainment attorney to draw up generic songwriting agreements for an affordable rate. They\u2019ll charge you a flat fee or by the hour for a more complex collaboration. If you\u2019re a big artist with tons of collaborations and sync deals, you\u2019d probably have an attorney on retainer. But if you\u2019re just getting started, you can find someone local who\u2019ll want to help set you up for success without bleeding you dry.<\/p>\n\n\n\n<p>Ask other local artists who they use. There will always be people who\u2019ll take advantage of others, but word of mouth is a great place to start in finding someone you can trust.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">International songwriting agreements<\/h2>\n\n\n\n<p>Working with copyrights in different countries adds another layer of complexity. In those cases, it\u2019s best to turn to the experts. If you don\u2019t have a label, publisher, or manager working with you, find an attorney who can negotiate with your collaborator\u2019s representatives in their market. International law is one of those things you don\u2019t want to risk navigating alone.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Songwriting agreements: Final advice<\/h2>\n\n\n\n<p>There&#8217;s a lot to learn about publishing, royalties, and copyright as an artist. People often suggest the book <em><a aria-label=\"All You Need to Know About the Music Business (opens in a new tab)\" href=\"https:\/\/www.amazon.com\/Need-Know-About-Music-Business\/dp\/1501122185\" target=\"_blank\" rel=\"noreferrer noopener\">All You Need to Know About the Music Business<\/a><\/em> by Donald S. Passman as a starting point. Aside from that, consider a free consultant with a local entertainment attorney or ask your fellow creators about their experiences.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"has-text-align-center\">Use Splice Mobile to instantly test and record ideas, explore genres, and unlock new creative possibilities\u2014all from your phone:<\/p>\n\n\n\n<div class=\"wp-block-buttons is-layout-flex wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button aligncenter\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/splice.onelink.me\/vNNn\/l2edvqvz\" target=\"_blank\" rel=\"noreferrer noopener\">Download Splice Mobile<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>We spoke with three industry professionals to learn about how songwriting agreements and split sheets work in various situations.<\/p>\n","protected":false},"author":68,"featured_media":14427,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[1860,1696],"tags":[524],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Why songwriting agreements are essential to your music career - Blog | Splice<\/title>\n<meta name=\"description\" content=\"We spoke with three industry professionals to learn about how songwriting agreements and split sheets work in various situations.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/splice.com\/blog\/songwriting-agreements-music-career\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Why songwriting agreements are essential to your music career - Blog | Splice\" \/>\n<meta property=\"og:description\" content=\"We spoke with three industry professionals to learn about how songwriting agreements and split sheets work in various situations.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/splice.com\/blog\/songwriting-agreements-music-career\/\" \/>\n<meta property=\"og:site_name\" content=\"Blog | Splice\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/Splice\" \/>\n<meta property=\"article:published_time\" content=\"2021-01-14T22:46:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-10-10T16:01:36+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/01\/Songwriting_Split_Sheets_BlogPost-1024x640.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"640\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Shannon Byrne\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@splice\" \/>\n<meta name=\"twitter:site\" content=\"@splice\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Shannon Byrne\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/splice.com\/blog\/songwriting-agreements-music-career\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/splice.com\/blog\/songwriting-agreements-music-career\/\"},\"author\":{\"name\":\"Shannon Byrne\",\"@id\":\"https:\/\/splice.com\/blog\/#\/schema\/person\/f85bced608a3c56ec8441f9d833f21bf\"},\"headline\":\"Why songwriting agreements are essential to your music career\",\"datePublished\":\"2021-01-14T22:46:00+00:00\",\"dateModified\":\"2025-10-10T16:01:36+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/splice.com\/blog\/songwriting-agreements-music-career\/\"},\"wordCount\":2414,\"publisher\":{\"@id\":\"https:\/\/splice.com\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/splice.com\/blog\/songwriting-agreements-music-career\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2021\/01\/Songwriting_Split_Sheets_BlogPost.jpg\",\"keywords\":[\"songwriting\"],\"articleSection\":[\"Music Promotion\",\"Tips &amp; 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