Music Director Agreement: Rehearsals and Performance Compensation (A Service Provider’s Guide)

As a music director or conductor, you’re often hired for your taste, leadership, and ability to deliver a cohesive musical product under pressure. But the real “pressure points” of most engagements aren’t musical—they’re contractual: how many rehearsals are included, what counts as billable time, and how performance compensation is calculated and paid.

Whether you’re leading a community theater pit, music directing a youth orchestra, conducting a festival choir, or serving as the musical director for a regional production, a well-drafted musical director agreement protects your time, clarifies expectations, and reduces the common friction that shows up in rehearsal week.

This post breaks down what to include in a music director contract template (from the service-provider perspective), with a special focus on rehearsal schedules and performance compensation, plus practical clause ideas you can adapt for your next engagement.

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Why rehearsals and performance pay deserve their own section

A lot of disputes start with assumptions:

• The producer assumes “a rehearsal” means any time you’re in the room.
• You assume “a rehearsal” means a scheduled block with defined start/end times.
• The company assumes you’ll attend every staging rehearsal “just in case.”
• You assume sitzprobe, tech, dress, and brush-ups are separate billable events.

A strong music director contract theater context should specify:

1. What rehearsals are included
2. How long rehearsals are
3. Where rehearsals happen
4. What you must prepare outside rehearsal
5. What triggers additional compensation
6. How performances are paid, including add-on shows and understudy runs

These terms are the backbone of your workload and your earnings.

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The core structure of a musical director agreement (service provider view)

Most music director engagements can be covered in a clear structure:

1. Scope of Services
2. Rehearsal Schedule and Attendance Requirements
3. Performance Dates and Duties
4. Compensation (Rehearsals + Performances + Extra Services)
5. Payment Terms (timing, invoicing, late fees)
6. Expenses / Equipment
7. Creative control and decision-making
8. Personnel (substitute conductor, assistants, orchestra contracting)
9. Cancellation / termination
10. Credits, recordings, and publicity
11. Independent contractor terms
12. Dispute resolution and governing law

In this guide, we’ll zoom in on sections 2–5, because those are where the money and time issues usually surface.

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Rehearsals: define them like a schedule, not a suggestion

1) Specify rehearsal types (and whether each is included)

Instead of a vague “Music Director will attend rehearsals,” name the rehearsal categories explicitly. Common ones include:

• Music rehearsals (chorus/ensemble/orchestra)
• Sectionals
• Staging rehearsals (blocking)
• Band/orchestra rehearsals
• Sitzprobe
• Tech rehearsals (including cue-to-cue)
• Dress rehearsals (including invited dress)
• Brush-up rehearsals
• Understudy rehearsals
• Put-in rehearsals (replacing cast members)

Service provider tip: If you’re not required for certain rehearsal types, say so. If you might be needed, specify “upon X days’ notice” and at an additional fee.

Contract concept:

“Rehearsals include up to ___ music rehearsals of ___ hours each and one (1) sitzprobe of ___ hours. Attendance at staging rehearsals, tech rehearsals, and additional calls is not included unless listed in Exhibit A (Schedule) or approved in writing as additional services.”

This is where a well-built music director contract template really pays off: you can reuse a consistent rehearsal definition each time.

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2) Put the schedule in an exhibit—and control changes

Schedules change. That’s normal. The contract should clarify how they change without quietly expanding your workload.

What to include in a rehearsal schedule exhibit:

• Dates and start/end times
• Location(s)
• Whether you are required to attend
• Whether the call includes setup/tear-down time
• Breaks (e.g., 10 minutes per 50 minutes, or per union norms if applicable)

Add a change control clause:

• Minimum notice for changes (48–72 hours is common)
• Limits on adding new calls
• A premium rate for late changes or added rehearsals

Practical clause idea:

“Schedule changes require at least 72 hours’ notice. Rehearsals added with less than 72 hours’ notice will be billed at 1.5x the rehearsal rate, subject to Music Director availability.”

This kind of language prevents “can we just add a quick rehearsal?” from becoming a pattern.

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3) Define rehearsal length, rounding, and overtime

If you charge per rehearsal, define what a “rehearsal” means in time. If you charge hourly, define rounding.

Common approaches:

• Per call: “Each rehearsal up to 2.5 hours”
• Hourly: “Billed in 30-minute increments after the first hour”
• Day rate: For intensive periods like tech week

Overtime matters in theater and live events. If the room runs late, you’re still working.

Practical clause idea:

“Rehearsals exceeding ___ hours will be billed at $__ per additional 30 minutes (rounded up), unless the overage is caused by Music Director.”

For a conductor agreement with orchestra services, you might also specify what happens if musicians are held over and the producer incurs extra musician costs—so you’re not blamed for schedule overruns you didn’t cause.

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4) Clarify “non-rehearsal” work that still takes time

Music directors do significant work outside the room:

• Score prep / marking
• Tempo maps and cuts
• Creating rehearsal tracks
• Writing piano-vocal reductions
• Orchestration/adaptation
• Programming and part preparation
• Audition support

If the engagement expects deliverables, list them and price them. If it’s “included,” define the boundary (e.g., “up to X hours of prep included”).

Practical clause idea:

“Fee includes up to ___ hours of score preparation and part marking. Additional preparation, arranging, transposition, copywork, or creation of rehearsal recordings is billed at $__/hour.”

This is especially important in a music director contract theater where producers may expect you to generate rehearsal tracks “because the last MD did.”

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Performance compensation: don’t let the “run” get fuzzy

1) Define what counts as a performance (and related calls)

Performance pay is rarely just the downbeat-to-curtain time. You may have:

• Call time (arrive early)
• Warm-up / tuning
• Notes sessions after the show
• Hold time if the show is delayed

Your contract should specify whether performance compensation covers these.

Practical clause idea:

“Performance fee includes call time of up to ___ minutes prior to curtain and up to ___ minutes post-show for notes. Additional required time is billed at $__/hour.”

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2) Choose a compensation model that fits the production

Common models in a musical director agreement:

A) Per performance fee

Best when performance count is fixed or limited.

• Pros: clear; scalable with added shows
• Cons: can underpay if rehearsal load is heavy unless rehearsals are separately compensated

Clause concept:

“Music Director will be paid $__ per performance for up to ___ scheduled performances.”

B) Weekly fee (run-of-show)

Best for longer runs (regional theater, touring, resident companies).

• Pros: stable pay; easier payroll
• Cons: needs caps so you aren’t absorbing extra shows for free

Clause concept:

“Weekly fee of $__ covers up to ___ performances per week. Additional performances are $__ each.”

C) Package fee (rehearsals + performances)

Common in community and semi-pro productions, but it must be itemized.

• Pros: simple for producer
• Cons: can hide scope creep unless you spell out included rehearsals/performances

Clause concept:

“Total fee $__ includes ___ rehearsals and ___ performances. Any additional rehearsal is $; any additional performance is $.”

If you’re using a music director contract template, consider building all three options as selectable “Compensation Modes” so you can quickly tailor the agreement.

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3) Added performances, extensions, and special events

Added shows are where budgets magically appear—yet sometimes your compensation doesn’t change unless the contract forces the issue.

Make sure you address:

• Added performances beyond the original schedule
• Extensions (additional weeks)
• Special events: gala, donor preview, school matinee, “talkback” performance, filmed performance
• Understudy performances (especially if you must rehearse them)

Practical clause idea:

“Any performance not listed in Exhibit A is an ‘Additional Performance’ and will be compensated at $__ per performance, subject to Music Director availability and written confirmation.”

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4) Pay timing, invoicing, and late fees (your cash flow matters)

Even if the artistic relationship is warm, cash flow issues can derail your month. Spell out:

• Deposit/retainer (common for freelance service providers)
• Pay dates (e.g., weekly, per rehearsal block, or within X days of invoice)
• Method (ACH preferred)
• Late fees and collection costs (where allowed)
• Kill fee or partial pay if canceled after you’ve committed time

Practical clause idea:

“Client will pay a non-refundable retainer of $__ upon signing. Remaining amounts are due within 7 days of invoice. Past due amounts accrue interest at ___% per month (or maximum permitted by law).”

If the engagement is short, consider aligning payment with rehearsal milestones:

• 30–50% at signing
• 25% at first rehearsal
• balance by opening night

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A practical rehearsal + performance compensation checklist (for conductors/MDs)

When reviewing a conductor agreement or drafting your own, confirm you can answer “yes” to these:

Rehearsals

• Do I have a written rehearsal schedule (even if subject to change)?
• Are rehearsal types defined (music vs staging vs tech)?
• Is there a cap on included rehearsals?
• Is there a stated duration per rehearsal and an overtime rate?
• Do I get paid for sectionals, put-ins, understudy calls, and brush-ups?
• Is there a policy for late schedule changes?

Performances

• Are all performance dates listed?
• Is pay per performance, per week, or package-based?
• Is there a rate for added performances and extensions?
• Does performance pay include call time and post-show notes?
• Do I get paid differently for special events (gala, filming, etc.)?

Payment terms

• Is there a deposit/retainer?
• Are invoice dates and due dates clear?
• Are late fees and remedies specified?

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Common negotiation issues—and how to handle them professionally

“We can’t pay extra for added rehearsals.”

Response approach: trade scope for rate.

• Reduce included rehearsals
• Reduce required attendance (e.g., you attend only music calls + sitzprobe + performances)
• Convert to an hourly model for anything beyond the base package

“We need you at staging rehearsals.”

If you’re truly needed: include them explicitly and price accordingly.
If you’re only needed “on standby”: propose remote availability or one designated “music check-in” staging rehearsal per week.

“Can you also provide rehearsal tracks?”

That’s a separate deliverable. Quote an add-on fee or hourly rate and define revision limits.

“The run might extend.”

Great—extensions should be a win, not a freebie. Add:

• extension notice requirement
• weekly extension fee
• per-performance fee for added shows

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Sample clause concepts you can adapt (not legal advice)

Below are drafting concepts commonly seen in a music director contract theater context. Tailor them to your market and project.

Included rehearsals and fees

“Fee includes up to ten (10) rehearsals of up to 2.5 hours each and one (1) sitzprobe of up to 3 hours. Additional rehearsals are billed at $__ per rehearsal.”

Overtime

“Time beyond 2.5 hours is billed at $__ per 30 minutes (rounded up).”

Added performances

“Additional performances not listed in Exhibit A are billed at $__ each.”

Tech week / dress inclusion

“Two (2) dress rehearsals are included. Tech rehearsals are excluded unless listed in Exhibit A.”

Late changes

“Schedule changes with less than 72 hours’ notice are billed at 1.5x.”

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How to use a music director contract template without getting trapped by it

Templates are valuable—but only if they reflect your actual workflow. A strong music director contract template should let you quickly customize:

• rehearsal caps and overtime
• per performance vs weekly vs package pay
• added services (arranging, copywork, tracks)
• cancellation terms
• crediting and recording permissions

Avoid templates that:

• treat every call as “included”
• omit schedule exhibits
• fail to define added performances
• don’t address payment timing

A template should be your starting position, not your ceiling.

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Final thoughts: protect your time so you can protect the music

You’re hired to make artistic decisions, lead musicians, and deliver a show. When rehearsal obligations and performance compensation are vague, you end up managing stress, surprises, and unpaid labor instead of making music.

A clear musical director agreement (or conductor agreement) with well-defined rehearsal schedules and performance pay helps you:

• plan your calendar confidently
• avoid scope creep
• get paid consistently
• maintain professional boundaries without conflict

If you want a faster way to generate and customize a music director agreement that covers rehearsal schedules, added calls, and performance compensation, you can create one with Contractable, an AI-powered contract generator, at https://www.contractable.ai.

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Other questions you might ask next

1. What’s the difference between a music director agreement and an employment contract (employee vs independent contractor)?
2. Should a music director contract include ownership terms for original arrangements or orchestrations?
3. How do I price a package fee that fairly covers rehearsal prep time?
4. What rehearsal attendance should be required for MDs in musical theater vs choir/orchestra settings?
5. How should contracts handle cancellations due to illness, venue issues, or force majeure?
6. What insurance (liability, instrument coverage) should a music director carry or require?
7. Can I include a “substitute conductor” clause, and how should approvals work?
8. How do I handle recording rights if the producer wants to film performances for promotion?
9. Should I require a deposit for short-run theater gigs, and how much is typical?
10. What clauses help prevent last-minute schedule changes from becoming the norm?