Tag Archives: tips

Promoting Your Orchestra Using the New Integrated Media Agreement

August 13, 2015 IM

by Deborah Newmark, Director, Symphonic Electronic Media

To familiarize the 70-plus orchestras now working under the new Integrated Media Agreement (IMA), and for those that may work under the agreement in the future, it is helpful to examine some of the provisions that are designed to assist orchestras in promoting themselves and building audiences into the future. The IMA negotiations were a hard-fought battle against forces that believe that everything we do can be described as promotion, and should therefore be free. We succeeded in fending off this attack, but ultimately agreed to allow for some expansion of the promotional opportunities, while maintaining the upfront payments and revenue sharing that are key components of the majority of the agreement.

To be a signatory to the IMA, an orchestra must have a collective bargaining agreement with their local, a permanent roster, and an orchestra committee. The 70-plus eligible orchestras signed to the new IMA will be able to take advantage of these new, expanded provisions. There are 50-plus orchestras still working under the older IMA and they will continue to use the news and promotional provisions under the older agreement.

The promotional language in the new IMA (2015-2017) is divided into subsections: Use of Captured Material for Promotion; Promotion via Performance Streaming; Volunteer Promotional Recordings; and Gifts to Donors, Corporate Sponsors, and Subscribers.

Footage for these promotional pieces will be captured at live services (rehearsals or performances). The one exception to this form of capture is the volunteer promotional recording provision (discussed later in this article). There are time limits on the amount of capture and use for all promotional pieces.

From Capture to Finished Promo

The new provisions make it possible for orchestras to greatly expand their time and presence on social media. Typical uses would be the institution’s Facebook and YouTube pages, as well as other social media sites. It also covers use in cell phones or wireless transmission, streaming e-mails (perhaps to subscribers), podcasts, and use in kiosks or monitors in promotional locations. The material can also be used by institutional sponsors or partners for their websites, as long as the material isn’t being sold.

The agreement also provides an opportunity to stream a performance that was free to the public for 45 days in order to expand the institution’s community outreach. In addition, there is a new provision that (with orchestra approval) allows for one concert that was not free to the public to be streamed for the same 45-day period.

Volunteer Promotional Recordings

Lengthy discussions took place at the IMA negotiations over the issue of the employers’ and potentially the musicians’ interest in being able to participate in audio or audiovisual interviews and activities that, in addition to talking, include individual demonstrations on their instruments for promotion. An example of this type of promotion might be an employer’s interest in featuring a new player in the orchestra, or asking a player to demonstrate an excerpt of a piece from an upcoming concert.

Our negotiating committee felt that the only fair way to do this was to make it voluntary for the interested musicians, plus create rules that had to be followed to ensure consistent application of this new provision. Musicians can accept or decline the offer without affecting their status in the orchestra. These recorded interviews cannot be used in any kind of disciplinary procedure. The recording can be done at a time and place chosen by the volunteer musician. Recording time is limited to 45 minutes and the final product can be no longer than 15 minutes. It is available for two years from the date of posting. Musicians that participate have approval over the repertoire and have final say in whether or not the product gets used.

This new provision is designed to create some order in what was previously a chaotic approach to these types of projects. As it is a new provision, the AFM will be collecting information about these projects along the way to evaluate how well it is working.

Gifts to Donors, Corporate Sponsors, and Subscribers

In the past, the Federation has assisted individual orchestras that wanted to make a gift of a CD to their donors during major fundraising campaigns. Special agreements were created by the AFM and approved by the musicians of each institution. These agreements allowed for the creation of a CD to bring in needed dollars to the orchestra as part of a major fundraising drive. In an effort to codify an existing practice, the AFM agreed to include such provisions in the agreement.

There are now two donor paths that an orchestra must choose between to create one project per season. The first path allows for the creation of a CD, DVD, audio download, or AV download to be distributed to donors as a gift. There are minimum donation requirements and limits on the number of copies. This product can’t be sold or broadcast.

The second path an orchestra can choose is to create a donor portal on the orchestra’s website (or a third party website, if the orchestra doesn’t have the ability to host the portal on its own site). Once again, there are minimum levels that must be met by donors and limits on the amount of music that can be posted. Access to the portal must be password protected or otherwise restricted. The material will be available for on-demand streaming—no downloads. The orchestra committee has artistic and project approval for either path. There is also a new provision that allows the possibility of providing a CD or DVD gift to a major corporate sponsor or underwriter up to one time per year (with Federation approval).

The final promotional category covers the release of product for subscribers or multi-ticket buyers. This is an opportunity to provide them with a taste of what a donor gets as a possible enticement to move them up to the donor level. Up to two times per year, the employer can provide them with a free download (or another perk like a maximum two-week period of access to a donor portal) in connection with a targeted marketing program specifically approved by the Orchestra Committee. There are time limits for the product posted.

Time will tell if signatory institutions take advantage of these wide-ranging opportunities to promote themselves. The resulting reported activity will inform the discussion when the time comes to bargain the successor IMA.

Health, Resources

A Holistic Approach to Performance Preparation

July 31, 2015 IM

“Feeling nervous before a performance is normal,” says Dr. Richard Cox, a musician, music educator, and psychologist at the Colorado School of Professional Psychology.

A certain amount of “concern” is probably good, normal, and useful, Cox continues, but anxiety is a physiological hindrance to good performance.

When the nervous system registers “anxiety,” it has already started the process of trembling, shallow or rapid breathing, perspiring, and stomach discomfort.

If these physiological symptoms are present, the first note will not be at its best. Cox suggests in his book Managing Your Head and Body So You Can Become a Good Musician that the psychology and physiology of anxiety can be greatly reduced by paying attention to these basics steps:

Mental Preparation

Anticipation–This is a matter of mind imaging. Close your eyes and visualize the music on the page, you with your instrument, the group or accompanist with whom you are playing, and the audience. Create a small picture show in the front of your brain. If you have a difficulty doing this, close your eyes, find a “center spot” in the middle of the inside of your forehead, and picture the entire situation as if it were a cartoon being shown frame by frame.
Relaxation–The body responds to anxiety by tightening up. If you have difficulty relaxing naturally, there are simple exercises that help. For example: Sit in a comfortable chair, or lie flat on a bed. Close your eyes. Breathe slowly and regularly, very deeply, and count slowly from one to 10, breathing in and out very slowly on each count. Talk to yourself. Tell yourself that with each breath you will become more and more relaxed.
Performing in your mind–By going through the performance step by step you can anticipate surprise feelings. It is very much like anticipating the next note when we play. The best way to play the next note correctly is to anticipate how it will be executed and how it will sound within the context of the last note and then the next several notes.
Center on the message–It is important to remember the message we wish to send to the audience. The audience will not remember the “wrong” notes nearly as much as they will remember the communication. Think through how the music will send the desired message. Then by keeping that message in mind, we can allow the technical performance to call upon years of practice and musical preparation. Many great musicians memorize the actual music straight from the printed page in their head, while humming it, and actually doing the fingering manually, then they put it all together in their mind, and only then on the instrument.
Center yourself–Get in touch with your emotions. If you are preoccupied, the music will show it. It is absolutely necessary to “get lost” in the music, otherwise you become a show person, not a musician. The “centering” technique discussed under Anticipation will work here. Deep meditation is also helpful as this aspect of mental preparation requires whole brain activity. You should be keenly aware of the intellectual and emotional demands upon you and the alertness and confidence you have stored up during practice. Fifteen minutes of meditation with relaxation, twice daily, is a tonic that cannot be equaled by medicine!

Physical Preparation

General health–Keeping one’s body in tone is essential to best performance. After all, the instrument is only an extension of your inner self. If you feel well physically, you will communicate better. It is surprising how many musicians abuse their bodies with inadequate exercise, too much caffeine, alcohol, tobacco, illegal and prescription drugs, and excess weight.
Nutrition–You are what you eat. Food plays a far more important role in good performance than most musicians acknowledge. Too much sugar, excessive caffeine, and excess fats are only a few of the things to avoid. Regular eating is difficult for professional musicians due to performance times, travel, and scheduling. However, it is important to keep your blood sugar level under control and within normal limits at all times.
Sleep–Loss of sleep produces serious effects. In fact, tiredness is only a symptom of the real problem–dream deprivation. When we do not sleep regularly, we develop sleep habits that skip important phases of sleep. One of these phases is the stage in which we dream. Dreams are essential for the repair of our entire thought process system. It also is particularly difficult for many musicians to obtain enough sleep before midnight. Research has shown that one hour of sleep before midnight is worth two hours after midnight. Some performers turn to medication and drugs to help them, but sleep that comes as a result of chemicals is not natural and does not produce the same beneficial results.

Other Considerations

Beta Blockers–All medicines are drugs and have both beneficial and harmful effects. Medicines containing beta blockers are used by some musicians to control stage fright. However, these medicines work by blocking certain impulses to the heart and can have profound effects upon the heart and nervous system that controls the entire cardiovascular system.
Other Medicines–The side effects of common medicines can dry you out (diuretics), make you drowsy (antihistamines), make you jittery (some cold and flu medications), cause nausea (some antibiotics), and some keep you awake. There are thousands of side effects of medicines you need to take into account. Medicines can also become a habit, both psychologically and physically. Be sure to discuss all the side effects of any medication you take, whether prescription or over-the-counter, with your doctor.
Doctors–Be sure your doctor knows you are a musician and understands that treatments and medications can effect your ability to study and perform. When undergoing surgery, if at all possible, request local anesthetic. General anesthesia puts the nervous system of the whole body to sleep and usually requires considerably more time to “bounce back.”
Dentists–If you are a wind instrument player, remind your dentist that your lips need to be treated gently. Even small changes in tooth structure, muscular ability, dry mouth, and myriad other considerations can effect your playing.
Your Brain & Music–Thinking about how your brain functions when you produce music will help you balance your artistic interpretation with your technical abilities. The two sides of your brain are called “hemispheres.” The left side is known for its analytical functions–putting the technical aspects of playing together. It is where we have logic and order. Right brain activity is emotive, artistic, romantic, and creative. Learning to truly listen to and appreciate what music does to the psyche and the soul is important to the right side of the brain. When the brain is functioning as a whole–connected by the structure that bridges the hemispheres, called the “corpus callosum”–you are in a great place to artistically perform with correct technique.
The Whole Person–The concept of wholeness, or holistic thinking, encompasses the mind, the body, and the spirit. It includes what you think, what you do, how you feel, what you believe, how you relate to others, and many other aspects of your total being. The concept seems rather esoteric at first, until you see how you fit into it. You cannot appreciate the role of music in everyday life, and your role as a musician, until you understand the meaning of the whole person. Once you grasp that concept it will be amazing how much easier it is to communicate with others and allow your music to touch the lives of others.

Adapted from Managing Your Head and Body So You Can Become a Good Musician, by Dr. Richard H. Cox, Colorado School of Professional Psychology Press, Colorado Springs, CO, 2006.

9 Tips for Success as an Endorsing Artist

June 26, 2015 IM

by John Wittmann, Manager of Artist Relations and Education, Band & Orchestral Division, Yamaha Corporation of America

Musicians performing at all levels consider acquiring endorsements at some point in their career. Some play with the idea; others move on it. Ultimately, it is the reasoning or motive behind one’s actions that determines success as an endorsing artist.

From the manufacturer’s point of view, endorsements are designed to help promote the credibility of a company’s instruments or accessories. They also exist to give the appropriate support to established artists and to help the company sell more instruments.

Ask Why

When someone tells me they want to endorse our instruments, I listen without interrupting until they are completely finished with their pitch. Then, after a long pause, I look them in the eye and say one word, which is one of the most empowering words in our language. I simply say “Why?”

The artist’s response will ensure or quell any interest on my behalf. If they continue talking about how good they are, or how close they are to signing that big record deal, or how we would be crazy not to sign them, then I invite them to send a package and end the conversation as quickly and politely as possible.

If, on the other hand, the artist tells me that they love our instruments, have found complete freedom in musical expression playing them, and indicate that they will continue playing them whether we sign that artist or not, I continue to listen.

Be Professional

It still amazes me to this day that musicians will apply to several manufactures at the same time. Consider the lack of credibility involved here. What does this say about their musical decisions? What they are really saying is that it doesn’t matter, musically, what instrument they play and that they are just looking to find the company which will give them more.

I know I speak for all musical instrument manufacturers when I say “get a clue.” If you want to be taken seriously in the big leagues, act like a professional, make a musical decision, and stay with it. If you want to be considered for a corporate, musical, and personal relationship through an endorsement, consider the following:

9 Tips for Success as an Endorsing Artist

Cast a clear vision for yourself: know who you are; determine your own sound; devote yourself to music … the songs, the group, the sound, your students, and your career. When you are making a living playing music and have something to offer others, then move on to number two.
Ask yourself why. Why are you asking for an endorsement? What are you willing to offer? What do you bring to the table that would matter? What attributes do you have as a person and an artist that would make you invaluable to a company?
Do you have an established career in music? This is a yes or no question. Be realistic, as this is the real world. Some guidelines: How many thousands or tens-of-thousands of recordings were sold last year with your name listed as the main artist? Are you currently on a major tour? How long have you been in your current band or symphony? Of what college or university are you a faculty member? If you are still in college, stay focused on your music and forget about endorsements.
In order to merit clinic support, you must be a great clinician. A great player is not necessarily a great teacher or clinician. This is an important point. Before you ask for clinic support, have 100 clinics under your belt and make sure that belt is a black belt in the art of teaching. It is important to the manufacturers that someone who calls themselves a clinician is indeed artful and effective at this work.
Make yourself an expert on the company that manufactures the instrument you play. You should know its history, philosophy, current artist roster, and position in the market. If you want to be an endorsing representative of a company, you simply must know and respect who you would be representing before you approach them. Study the company’s website and determine how it represents its artists. Do you fit in with its roster?
Establish rapport. Introduce yourself at trade shows to the company’s staff without presenting a package or even mentioning the word endorsement. We assume, if you are talking to us, that you can play. Remember, many of the people working for instrument manufactures are fine musicians. Many of them would surprise you if you ever heard them play. In the endorsement context, you need to present yourself as a business person. We want to know what it would be like to work with you.
Prepare a well-crafted promotional package. Your package should include a short letter, a biography, a recording, a photo, and the URL to your website. Take time and have fun crafting this package; it is your first impression. Do some background work and be sure you’re sending it to the correct person–get the correct spelling of his or her name, as well as that person’s correct title.
Don’t expect free instruments or to be paid money in return for playing a company’s instrument. Artist discounts will be discussed after your package has generated interest. Companies expect endorsing artists to play their instruments exclusively; to mention their companies at educational events; to thank the company for their support; and, when possible, to include the company’s name on recording materials. Individual companies may have other expectations beyond these, which will be discussed if they are interested.
Keep focused on the music while paying attention to your sound and to your business skills. Music manufactures are, above all, interested in being represented by good, professional musicians who truly love the tools of their trade.

An endorsement relationship with a company is a privilege. It is a truly reciprocal relationship which is based on trust and great communication. Endorsements do not exist to propel anyone’s career. Rather your successful career will propel endorsements.

Health

Air: The Life Blood of Wind Instrumentalists and Singers

June 23, 2015 IM

by Donald L. Banschbach of Local 10-128 (Chicago, IL)

Whether you’re a wind instrumentalist or singer, you have probably heard the phrase “use your diaphragm” many times throughout the course of your career from teachers and fellow musicians. This instruction concerns the constant flow of air supported by the group of muscles that musicians and singers employ for optimal sound in their performances. To support air flow, singers and instrumentalists use forced inspiration and forced expiration of breath, essentially turning the human body into an air pump.

How It Works
Air pumps, like the human respiratory system, draw in air from the atmosphere and expel it into a container such as a balloon. The human trunk is divided into two large cavities, the thoracic cavity, which contains the lungs and heart, and the abdominal cavity, which contains the stomach and intestines. The diaphragm, a large dome-shaped muscle, separates these two cavities.

Using forced inspiration, the musician’s diaphragm lowers the floor of the thoracic cavity, while increasing the volume inside the cavity. At the same time the muscles between the ribs (external intercostals) elevate the rib cage. The dual action enlarges the thoracic cavity, sucking air into the tiny alveoli sacks filling the lungs with air—think of the action of an air pump with the diaphragm as the plunger.

At this point in the breathing process, the musician or singer is ready to force air through the mouthpiece or vocal cords. The human girdle (made up of the transversalis abdominis, external and internal oblique muscles) now forces the stomach and intestines against the lateral side of the diaphragm. This reduces the size of the thoracic cavity. Simultaneously, the internal intercostals (musculature between the ribs) lower the ribs, reducing the size of the rib cage. This joint action is similar to squeezing your hands together forcing the air out of a balloon.

Capabilities
The volume of air used for forced inspiration and forced expiration, is known as the musician’s vital capacity. This volume, measuring in cubic centimeters (cc), varies from clarinet player to tuba player or rock singer to opera star. Females generally average 3,000 cc of lung capacity and males 5,000 cc. Variations in vital capacity between individuals or across the sexes does not seem to hinder performance levels. However, a musician’s height, weight, and age can affect vital capacity. It is the general opinion of the medical community that regular physical exercise increases vital capacity. Forced inspiration and forced expiration, as used by wind musicians, increases the capacity. This exercise of the lungs increases oxygen in the blood stream, blows off carbon dioxide, and is a contributing factor to the health of the musician.

Avoiding Improper Technique
When the diaphragm is used correctly, the abdomen will project forward or push out, while the musicians inhales. A “heaving chest” occurs when a musician or singer fails to use the diaphragm properly. It is a sign that the diaphragm is not being used to full capacity since the breath will jerk the rib cage upwards instead of expanding the stomach. While this heaving action makes it possible for the musician to achieve some degree of vital capacity, there is a major problem with this type of breathing. The external intercostals, in between the ribs, are acting on their own and cannot achieve the airflow required for maximum musical performance. A formula for the proper muscle use in inhaling and exhaling might read as follows:

Forced inspiration = diaphragm + external intercostals assisting

Forced expiration = abdominals + internal intercostals assisting

To get a better sense of how to use the diaphragm properly, place the tips of your fingers on your belly and inhale. As you inhale, your belly should expand as the air enters your lungs and your fingers should feel as if they are moving away from the body. As you exhale, the belly should cave in and your fingers travel inwards.

Practice breathing, separate from when you are rehearsing music, to accustom the body to correct breathing for optimal performance.

Health, Resources

9 Tips for Healthy Outdoor Summer Gigs

May 28, 2015 IM

After a long winter of indoor gigs and stuffy practice rooms, you’d jump on any chance to finally play outdoors. But, before you head outside to enjoy these fun opportunities, take a little time to consider how to stay healthy in the heat and sun. Here are nine things to consider:

1) Venue review. Be sure to check out your stage ahead of time. Considering the time of day of your performance, will you be playing in direct sunlight, partial shade, or completely protected? Check what type of power supply is available at the venue and what precautions have been taken to protect the gear (and yourself from shock) in the event of sudden storms. Also, will there be electrical fans provided, or could you bring your own?

2) Gear check. To reduce the possibility of electrical shock when playing in an outdoor environment, always check your equipment beforehand. Replace any cables, particularly mains, that have nicks or look tattered.

3) Great covers. Ideal clothes for an outdoor gig are sun protective, light in weight and color, loose-fitting, comfortable, and can wick away the sweat. If your fabric offers little sun protection, consider using an additive like Sun Guard, which increases the ultraviolet protection factor (UPF) of any clothing for several (up to 30) washes. Wear layers if the temperature is likely to change. If you will be in direct sunlight, wear a hat—preferable one that will shade your head and the back of your neck.

4) Lather up. Apply sunscreen before you arrive to all skin not covered by UV protective clothing. The US Food and Drug Administration recommends Broad Spectrum sunscreens with SPF values of 15 or higher. It should be applied 20 minutes before you head outside and reapplied at least every two hours, more often if you’re sweating. Use a “sports” sunscreen that is waterproof so it doesn’t run off your skin and into your eyes. Don’t be fooled into believing that your facial makeup’s SPF protection is enough to protect your face. You would need seven times the normal amount of foundation to get the SPF factor on the label.

5) The right shades. Don’t forget your sunglasses. Time spent in the sun without eye protection can lead to eyestrain, as well as long-term eye diseases such as cataracts. Be sure to read the labels when purchasing sunglasses. They should state that they block at least 99% UVA and UVB radiation, or look for the phrases “UV 400 protection” (block light rays with wavelengths up to 400 nanometers) or “meets ANSI Z80.3 blocking requirements” (standards set by the American National Standards Institute). Polarized lenses cut down on glare, but can actually make it more difficult to read iPads or other screened devices. Wraparound glasses offer the best protection, but at least look for a pair with lenses large enough to go down to your cheek bone and wide temples to protect side exposure.

6) Hydration, hydration, hydration. The human body is 66% water, while the muscles are up to 75% water and lungs are 90% water. If you are sweating on stage, you are probably losing between 0.8 to 1.4 liters (roughly 27.4 to 47.3 oz.) per hour. So pack a small cooler of water bottles and keep one within reach at all times. Avoid alcohol, sugary, or caffeinated drinks. For prolonged or heavy sweating, you should also keep a sports drink handy to also replace electrolytes.

7) Plan ahead. If possible, plan your performance so that you limit your time in the sun, especially between the hours of 10 a.m. and 2 p.m., when the sun’s rays are most intense. If you want to wander around the festival or watch other performers, try to stay in the shade before your set. Also, don’t overdo it. Make sure you have adequate breaks in your set, and scope out a cool, shaded place to take them.

8) Healthy eats. Eat a healthy meal at least one hour before your performance is to start. Include plenty of fresh fruit and vegetables, and avoid the salty, high-fat junk food found at most concerts and festivals.

9) Listen to your body. If you feel thirsty, you are not drinking enough water. A headache is also a warning sign that you are becoming dehydrated. Light-headedness, confusion, nausea, cramps, rapid heart rate, and profuse sweating are symptoms of severe dehydration. Get out of the sun and seek medical care immediately, if they do not go away.

Books-Resources, Products

Electronics Concepts, Labs, and Projects for Media Enthusiasts, Students, and Professionals

May 1, 2015 IM

This book is designed to introduce musicians to concepts, techniques, and tools in the fields of audio, video, and multimedia recording. It includes everything from basic electronic theory to practical lessons on soldering. “Even if you never open up a piece of gear, an understanding of the concepts of electronics will add to your ability as an audio professional,” says the book’s author Alden Hackmann. “This book will be extremely helpful when troubleshooting gear, such as bad cables, faulty microphones, malfunctioning preamps, consoles with bad power supplies, speakers with intermittent output, and other issues.” An accompanying DVD contains lecturers and illustrations that support and reinforce the concepts in the book.

Electronics Concepts, Labs, and Projects for Media Enthusiasts, Students, and Professionals, by Alden Hackmann, Hal Leonard Corporation, www.halleonard.com.

Books-Resources, Products

Music Marketing for the DIY Musician: Creating and Executing a Plan of Attack on a Low Budget

May 1, 2015 IM

Music Marketing for the DIY Musician is a proactive, step-by-step guide to producing a low-budget plan for marketing your music. New technologies make it more possible than ever for musicians to attract attention independently and leverage their own success. This book will help you see your music as a business where you can employ some of the same tools used by top companies, while always staying true to your artistic integrity. Author Bobby Borg shares his experiences from 25 years as a musician and entrepreneur, as well as research involving thousands of independent artists and marketing experts.

Music Marketing for the DIY Musician: Creating and Executing a Plan of Attack on a Low Budget, by Bobby Borg, Hal Leonard Corporation, www.halleonard.com.

Music Business, Resources

Your Best Gig Could Be Your Next Gig

May 1, 2015 Bob Popyk

Over the past few columns I’ve talked about crazy, memorable, and terrible gigs. That’s life as a working musician. I appreciate all the letters, calls, and e-mails about out-of-the-ordinary playing jobs. They are too numerous to mention here, but I am retaining many of them for future columns.

Besides just mentioning a highlight or funny story of some careers, three AFM members sent me books they’ve written. They range from “riding the crest of a slump” to looking back on a wonderful career as a union musician.

Hank Doiron of Local 198-457 (Providence, RI) wrote a recap of his more than 70 years as a bass player/vocalist. In his book, Gonna Take a Sentimental Journey, he mentions the hundreds of local AFM buddies he worked with through the years. Doiron is a former secretary of his local, and has had an outstanding career. One of the more unique gigs he played was when he was asked to put together a Dixie trio of bass, banjo, and trumpet. He arrived to find they were playing for a wake and the deceased’s last request was to have live Dixie music play during his calling hours.

I received The Life and Times of a Honky Tonk Drummer (available on Amazon) from Troy “Skeet” Seaton of Local 71 (Memphis, TN). It’s his stories from 45 years as a drummer in a number of different bands throughout Arkansas, Mississippi, and Tennessee.

One of his fun stories was about playing at a bar with a guy who didn’t drink. It was the guy’s first job with the band in a number of years, and Seaton had a tough time even getting him to play the gig. The band was on a break, and someone bought a whole tray of tequila shooters and sent them over to the band. Skeet told one of the guys at a table next to the band that they’d had enough, and that he could drink them all. He promptly grabbed them like they were diamonds and downed them all at once. The guy in the band who didn’t drink came over to see what was going on, and the tequila grabber promptly threw up all over the nondrinking musician’s new cowboy boots. Skeet said all he could say was “welcome to the band.”

Then there was Local 1000 (nongeographic) member Jamie Anderson’s Drive All Night. The liner notes say it’s “in the tradition of the second oldest profession.” She’s been a traveling singer, comic, songwriter, musician, and a few more things beyond that. These are her recollections of grungy lodging, shady producers, half-deaf sound engineers, and miles of highway weariness. She has a very unique niche, and you’ll have to get her book on Amazon to really get a good take on her adventures as a girl with a guitar. She’s opened for major and minor acts, closed a church coffeehouse by uttering names of female parts, and danced with a tornado.

The book is a delightful mix of horror road stories on the touring circuit for her unique audience. It’s very funny in parts, and will make you feel your worst gigs were nothing compared to what she went through—no matter where you played. Her life has always been gigging, writing, networking, recording, and laughing. It’s a not-so-glamorous look at her daily grind.

Once, after slogging through a too-long sound check at a gig in Baltimore, a sound guy groused, “You’ve just never worked with such great equipment before.” She was tempted to answer, “It sounds like you’ve never seen sound equipment before.” Nothing she could do would convince him that her guitar does not usually scream like a jet at O’Hare, and her voice shouldn’t sound like something from an ancient boom box. She says you learn to live with it.

Once she had to sit on the edge of a stage in a huge theater, singing without amplification because no one knew how to adjust the computerized sound system. There was a date in Ohio where the sound equipment was locked in a cabinet for which no one had the key. She still did the gig, but only the folks in the first few rows could really hear her. She still got paid.

You learn to deal with these times, because you know the next gig will be better. Anderson writes in her book: “As long as somebody wants to hear me, I’m there. I’m especially interested in any gig in Hawaii, but Burnt Corn, Alabama, will work too.” She goes on to say, “There is nothing more satisfying than hearing applause when you’ve done a good job.” (It’s really nice when you get well over scale too.) Anderson also says she could never be an accountant because “no one claps when you balance the books.” Amen to that.

Tough gigs are a fact of life. It’s part of what we do. You learn from it. That next gig could be the best one you’ve ever had!

Tips on Making an Orchestral Audition Recording

April 30, 2015 IM

Grant applications are often straightforward to follow but time-consuming. Don’t wait until the last minute to send in an application, as you may find yourself rushing around to make photocopies or prepare a demo CD and thus are more likely to make mistakes or miss a part of the application.

Tips on Making an Orchestral Audition Recording

Always read guidelines and instructions carefully and follow them to the letter. Always submit a grant on time and in the requested format.
Don’t try to make the grantor’s program fit what you want to do–your program must be in line with the funding agency’s priorities.
Keep your goals realistic! Grantors want to know if projects will be successful, will meet their goals, and that those goals are measurable.
Be creative and compelling. Grants may be won or lost on the quality of ideas proposed. Grant writers talk about the “hook,” the sentence that tailors the project description to the interest of a funder.
Have clearly definable goals and objectives. You may also be asked to define an audience for your project or how it fits a grant’s wider (i.e. educational or historical) goals.
Propose a reasonable, detailed budget and timetable. Do your homework on costs prior to submitting your application.
Clarity is very important. Have someone you trust, preferably with good writing skills, read and critique your application.
Proofread! Spelling and grammar errors do not convey a positive or professional image. It’s a good idea to draft statements and longer items of the application before preparing a final version.
Choose partners wisely. If working collaboratively, make sure your partner is trustworthy, shares your vision, and shares the leg work.
If unsuccessful, follow-up with the funding agency nevertheless. Sometimes, not always, it will be able to give a critique of your application or reasons why certain projects were successful.

Books-Resources, Products

Trumpet Sound Effects: Circular Breathing, Split Tones, Extreme Embouchures, and Much More!

March 25, 2015 IM

Any trumpet player, from student to advanced, can benefit from the techniques in this book that shows you how to add unique trumpet sounds to your palette of colors. Trumpet Sound Effects explores everything from half-valve and growl sounds to percussion sounds and mutes. It teaches dozens of inventive effects, with etudes that put them into musical contexts. The accompanying online recordings provide demonstrations of each sound effect and play-along tracks for the etudes.

Trumpet Sound Effects: Circular Breathing, Split Tones, Extreme Embouchures, and Much More! by Craig Pedersen and Ueli Dörig of Local 180 (Ottawa, ON), Berklee Press, Berklee Press (www.berkleepress.com).