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By Randy Singer
INTRODUCTION
Musicians often ask me how to find employment making money making music. I
have averaged four to six gigs per week for the last number of years and have
been making music as my living for about ten years. Typical performances include
appearances at major hotels, clubs, private islands, estates, parties, sports
arena VIP rooms, recording sessions, music festivals, and schools. Making money
making music is possible if are willing to work very hard and follow your heart
as well as your head. I would like to share some of the concepts and techniques
that have worked for me
.
These are brave new times for musicians. Our livelihood is threatened by competition
from all fronts and our musicianship is devalued as technology brings “musical
skills” and media coverage to just about anyone who seems to have an
image consultant, an investor or a charge card from the music store.
New times require new rules. That is why I have written THE MUSICIANS HANDBOOK-
The New Rules for Getting Gigs.
This handbook is designed to show you how seek out the hidden opportunities
for performance and make the changes to put yourself in these money making
and career enhanced gigs. And if you sing or play multiple instruments like
harmonica, guitar, bass, keyboards, percussion, sax, percussion, or any other
instrument, you will exponentially improve your musical and economic lifestyle.
This little book will show you how.
The following is not an overnight method. It is a long-term
course designed to help you to go the next level and achieve your dreams of
finding employment as a full-time or part time professional musician. This
requires hard work, creativity, imagination, discipline and LOVE.
Few musicians get to be Whitney, Britney, Jessica, Janet, Mariah,
or even Toots, Outkast, Benson, Pavarotti, or Paul McCartney, but it is possible
to stay busy on the local or worldwide level where life may not be as glamorous
but where there is no shortage of work.
There is a price for everything. Would you rather pay
the price for excellence than the price that is paid for mediocrity? Without
internal change, there can be no external change in experience. It is said, “Change
will not occur until the price of staying the same exceeds the cost of staying
the same”.
If you prefer to stay the same as you are, I suggest that you continue no further
with this little book as it may make you feel uncomfortable. If you are ready
to go to veer out of your comfort zone and go to the next level, you have come
to the right place.
This is indeed a brave new world and traditional values and
previous models of doing business have changed. The music industry is in transition
and job security is rare. Newly acquired skills coupled with a keen sense of
purpose and direction can never be taken away from you and help you to adapt
to the changing of the times.
The rules have changed, so let us change lest we become as
obsolete as the Victrola.
If you have your suggestions of ideas that have worked for
you, please send them to me via email at:Randy@RandySinger.com and I will publish them at a
later time with your name.
Keep the following quotation in mind as we continue.
"The world we have created is a product of our thinking.
It cannot be changed without changing our thinking."
-Albert Einstein
Now, let’s roll up our sleeves and get started!!
PART 1
GETTING STARTED
Let's start by taking a close look at the marketplace and our skills. Our
standards and skills should coincide with the demands of the marketplace. Raising
our standard of excellence and analyzing the market is how we do this and is
required to accomplish our musical and financial goals.
Remember this sound advice: The more useful you are,
the more gigs you will find! The better you know your instrument, the market
and yourself, the more useful you will be to potential employers and the
more you will find yourself employed. So, let’s find ways of being
useful to those who have gigs to offer.
QUESTIONS AND ANSWERS
Ask yourself the following questions-
1. Why would a potential employer choose your services as a musician over
another good musician?
+ Your social, music and business skills, overall presentation and versatility
must be of the highest standards in order to compete in the game of the new
rules. Employers hire those with credibility and personality and the competition
is fierce. How high are your musical, social and business standards and credentials?
2. Do you always tell the truth?
+ There is no substitute for honesty, integrity and for always doing what
you say you will do. Follow this formula very carefully and it will change
your life. If your actions do not match your words, your experience will not
meet your expectations in the long run. Procrastination's and justifications
are never substitutes for professionalism and long-term success.
3. Can you can sing harmony/lead vocals and play multiple instruments?
+ Remember that even a little skill at a secondary instrument can get you
into many doors that can introduce you to the world. Playing another instrument
has helped Toots, Howard Levy and other great musicians. Realize that lead
and back-up singing (the more languages, the better) and songwriting can be
the clincher that can secure the gig for you. Use and develop all of your talents.
4. How is your stage etiquette?
+Never submit yourself to the embarrassment of playing
in the wrong key or overplaying. Less is more so be tasty and create little
memorable licks that tell a story instead of run-on licks that go anywhere
to nowhere. When you are backing up a vocalist, a rule of thumb, more or
less, is only to play when the singer takes a breath. There are obvious exceptions
to this, but stick to this rule if you are less experienced. Don’t
play too loud and remember the beauty of a holding a long note from time
to time instead of the million note shotgun approach to music. Another important
hint while taking a solo is to stop playing for a few bars every now and
then. You will be amazed how good you sound to others when you reenter.
5. Do you have a good physical presentation?
+The new rules dictate a higher commitment to personal
hygiene and appearance. I have known musicians bounced from gigs because
they did not look good enough (or fit the “image”) or not hired
because of a poor “vibe”.
How you dress and act can play a huge role whether you land a part or not.
Make sure that you carefully check the cleanliness and style of your clothes,
hair, posture and total appearance. Do you have good posture and have good
eye contact?
Also, dress according to the gig- casual to casual upscale
for casual gigs and job hunting, upscale for upscale gigs and “funky
chic” for
hip gigs, etc. Smoking is taboo at most gigs. The new rules dictate excellent
grooming and cleanliness. There is no excuse for a bad haircut and an old pair
of shoes. And show up on time!!!
Even your tone of voice or look on you face can confuse the
meaning of your words to someone else. Psychologists have determined that communication
between two people is less dependent upon the actual words interchanged and
more dependent upon tone of voice, body language and gesticulations. It's surprising
how many musicians don't pay attention to these important things, and not surprising
how bad an impression this makes on employers.
It is common sense to take good care of yourself and
your physical/spiritual presentation. Sobriety, cleanliness, groomed hair
and an articulate, altruistically sincere presentation can help create a
lasting first impression that can cue people to open their doors and hearts
to you. First impressions can last forever. One of the most difficult things
in the world is changing someone’s perception
of you once they think they “have you figured out”. “Get
it right the first time” says Billy Joel. There are few second chances
as far as first impressions are concerned.
6. Do you have the tools of the trade?
+You should have professional business cards, a beeper/cell
phone, answering machine/voice mail, email, fax, (try Efax.com), computer,
internet service, metronome/drum machine, a great audio/video demo, promo package,
professionally created bio, demo CD, commercial CD (for selling), gig contracts
and musical instrument insurance. And, of course, your instruments should be
in top working order.
These tools of the trade can help you immeasurably. Never
fear that you cannot do without essential tools or learn anything. For example,
there are many who feel computers are either irrelevant or too difficult
to learn. Believe that you can do it and make the commitment to learning.
Everything looks insurmountable at the beginning and the journey of a thousand
miles starts with the first step. Computers will facilitate everything you
do. For example, most of my clients and musicians prefer email instead of
the phone. It is faster and more precise in so many ways. Don’t just
take my word for it. Ask most anyone who is successful in the world. They
probably use a computer in one way or another.
7. Do you have studio recording experience?
+Listening to yourself is an accurate picture of your musical
skills. Just as you would not know what you really looked like without a mirror,
a clear recording of yourself will show you how you really sound. You can purchase
a new or used multi-track recorder (cheap ones can be purchased for $200) with
a reverb unit and practice overdubbing and punching yourself performing with
prerecorded tracks.
Offer to play on your friends' tracks - have recording
parties! Use BANDINTHEBOX, karaoke CD’s, Jamtrax and Jamie Aebersol
CD's, etc. Record yourself and hear yourself improvise. Study the recordings
carefully and do not be afraid of what you will hear. There is no substitute
for perfection in rhythm, melody, tone and feeling except when the vibe of
the song dictates a looser feel and attitude. Listen, learn and perfect.
8. Do you have a great acoustic and amplified tone?
+ By all means. When your tone is great, you will sound good
no matter what type of equipment you are using. Great tone and great equipment
are an unbeatable combination. Gear purchases like instruments, compressors,
mikes, wireless systems, pre amps, and multi-effects units are very personal
and should be made carefully after doing your research. Singers should always
have their own microphones and XLR cords.
Keep in mind that, as your equipment should function flawlessly,
sometimes it is necessary to do without any of your equipment. You should have
the confidence and ability to step onto any stage with whatever equipment is
available and seamless perform at the top of your game. A professional is one
who performs beautifully in the midst of the most absurd of circumstances and
lack of adequate monitors! Remember that great equipment does not replace natural
tone. A great musician will sound great on any system.
9. Do you are constantly read newspapers and local papers looking
for new performance venues?
Don’t just rely on the local clubs down the street.
There are many more hidden places for performance opportunities.
ALWAYS be automatically on the lookout for any music gathering (writers'
or music business conferences, etc.) and openings of new establishments with
or without music. Jot these down and make a list for your efficient follow-up
calls. Be a gig detective and spy for potential venues as you drive down the
road or when examining the media (newspapers, TV, local papers, etc.) in your
hometown. Think outside the box. Is there a local cooking show on TV- perhaps
you can provide some music? A new opening of a restaurant or business? Is there
an over 55 condo nearby? Open your eyes and get busy!!!!!
Be persistent if you cannot get through to the booking
manager at first. If you see a potential place for your music, stroll in
looking great with your promo package and say, "Excuse me, may I speak
to the person hiring your musical entertainment, please?" Say this with
a friendly and steady voice then begin your pitch (more on this later). Remember
that first impressions can last forever so make yours the best.
Keep copious lists of places to send your promo packages with
bi-weekly follow-ups. Always precede a mailing with an introductory phone calls.
Follow up once every two weeks and keep in mind you may not be their top priority
so just be cool. Be easy on them and give them a reason to be excited about
hiring you. Make them come to you, if possible.
Learn to network and hang out in songwriters' bars and music
venues. Do not fear networking or looking for gigs. Just be real friendly,
but laid back and non aggressive with an inquisitive and sincere nature. Do
not appear pushy, needy, overly talkative, drunk or arrogant, just aware, considerate
and sober.
Do not make getting the gig your absolute priority during
these networking moments. Instead, concentrate on getting to know people
and learning about their lives and the business. Remember that we have two
ears and one mouth—listen
twice as much as you talk! It is common sense that most people like to hire
people they like- so be likeable!!
10. Do you know hundreds or thousands of songs in your repertoire?
+ Learn new songs each week. You can never know too many
songs. Be sure to veer out of your comfort zone and play songs that are challenging
to you. Playing the jazz standards like "The Girl from Ipanema" or
the pop standards like “Sitting on the Dock of the Bay” has made
most musicians more money than playing "Stormy Monday" ever wilI.
I believe the more popular songs one knows, the more gratification and gigs
you will receive. Although one can make a living playing artistic and original
music, (howard levy, robert bonfiglio, etc), I believe that you will make
more money playing songs that people know than songs people do not know.
Familiar sounds trigger memories in our listeners. Trisha Yearwood once sang “The
Song Remembers When” to explain how powerful songs can be as reminders
of where we were when we first heard the song. Make your audience smile,
feel, cry and dance and they will appreciate you for it. This does not mean
you should stop performing original music. On the contrary, you must perform
and write original music. Just remember to intersperse some familiar songs
throughout the set list.
Let's say you want to know the top songs in the jazz genre,
the top songs in the blues genre, then the pop genre, etc. Well, in addition
to keeping the radio on all day, buying lots of CD's and music books, learning
to sight-read, and hiring someone to train you in repertoire, I have another
nice suggestion: See if your local TV cable company offers the DMX digital
radio. For ten bucks a month or so, you can have 30-some channels of music
sent to your house without commercials and the title and artist of the song
is visible on your TV. They are divided into neat categories (jazz, blues,
reggae, etc.). I also have XM radio which is amazing. Internet radio is great
if it gives you the song and artist information. I subscribe to Live365.com
and Spinner radio as well. You have to live with these songs 24/7.
Buy a mini disc player (for the random access memory feature)
to record the ones that you want to learn and get to work studying the songs.
Keep lists, learn the melodies (heads) and be prepared to solo (in any key,
if possible).
BANDINTHEBOX (PGmusic.com) is perfect for learning songs. You
can sequence the songs yourself, find them on the internet for free or buy
the sequences at Norton@nortonmusic.com. Live to learn to learn!
Create song lists for each genre (Jazz, Dance, Blues,
Rock, Pop. etc) and keep them updated as you grow. If you don't dig jazz,
try listening to Miles Davis' award winning "Kind of Blue" CD.
If you don't dig blues, get Paul Butterfield's double live album. Attempt
breeds familiarity breeds facility.
11. Are you easy to work with and professional?
+ This is vitally important. Find great role models and
emulate their best qualities. Rob Paparozzi, Jellyroll Johnson, Tommy Morgan
and Howard Levy are superb examples of professional conduct and musicianship.
Most people who do not work usually have a reputation of being too difficult
or just not fun to be around. Be careful before you speak unkindly about
anyone because it can open the door for others to gossip unkindly about you.
Do not complain to anyone about anything unless it has the possibility of
leading to change and see the positive in every single occurrence, especially
the ones that look “strange”.
Gossip may seem like “innocent fun, but can backfire on you before you
know it.
12. Do you know the key of any new song within 7 seconds?
+ This will show your fellow musicians that you are a
professional. You must be able to hum the tonic note and find it on your
instrument. If you have difficulty, you can take an ear-training course,
and study your II-IV-V’s (and other
essential music theory progressions).
13. Can you do a solo gig?
+ It is a shame to turn down those $75 or $100 gigs. Like it
or not, the one-man-band business can be very lucrative. If you have a great
solo act (with or without tracks), you will always increase your chances of
find a gig. It is truly an economics reality that these solo gigs are attractive
and affordable to many establishments that ordinarily cannot have full bands
due to space or financial limitations. And you can use the one-man-band as
a precursor to larger, more ambitious gigs and bands.
Create a solo gig playing your instrument with a sequencer,
drum machine, keyboard (with optional automatic accompaniment), guitar, Boomerang
device or minidisk/karaoke/computer system with hundreds of songs. Vocals or
secondary instruments are a big addition.
The advantage of the sequencer system is that you have
real time control over keys, instruments, tempo, etc., on the gig. The advantage
of the mini disc is that you can use acoustic based tracks and you do not
have the hardware and software headaches of sequencers and modules. I prefer
mini disc so that I may have the best of both worlds (sequenced and acoustic).
I caution against using CD's, they can scratch. Playing with machines is
not as bad as it sounds if you haven't tried it. Once you learn the arrangement,
you can really be quite experimental, innovative and expressive with the
tracks. Plus you can learn new songs that would take weeks of rehearsing
with a real band. It is a fast learning tool until you can go to the "next
level" of
playing with real musicians.
If you still think it is “selling out”, perhaps
you just haven't seen a system like this in the hands of a professional. I
personally thought it was crass until a sax player friend of mine named Tony
Hayes showed up in town with his state of the art system. He had these hip
jazz/pop/acid jazz tracks and would set up his portable P. A./mini disc system.
He performed at many restaurants on Lincoln Road and Ocean Drive in Miami Beach
with his funky Michael Brecker sax sound and put on a great show with his “one
man band with tracks” gig.
He was working 5 nights a week (plus parties), with an
awesome sound and he has earned the respect of the music community. Weekly,
he could make a grand. He is a sax virtuoso, and he sings on about 20 percent
of his songs. Plus, his attention garnered him studio work and he sold lots
of CD’s.at his
gigs.
Do not judge solo performing with technology as “evil”.
You most likely have not heard it with state of the art equipment in the
hands of a professional.
Where do you get your background music? Buy your tracks from
the karaoke stores, produce your tracks with friends, download your midi tracks
from the Internet (use www.cybermidi.com (the best!!), http://www.petersolleyproductions.com,
www.trantracks.com or Singasong (in Hollywood, Fl) -Talk to your local karaoke
guy. He might even turn you on to a few starter tracks.
There are many more options to obtaining and producing tracks
is beyond the scope of this little book. Converting midi tracks to audio is
an art in itself.
Consider this- Would you rather be at home wishing you
were performing or out gigging solo? Keep I mind that performing as a solo
artist with or without tracks or technology can be part of the wonderful
journey and not necessarily the destination. It can be part of the wonderful
recipe called “success”.
14. Do you have workable duos or trios?
+ When I lived in Nashville, Tennessee, I had the tremendous opportunity to
study with Howard Levy. Always an enlightened fountainhead of music and spirit,
he taught me that one of the best things I could do for my education and career
would be to form a duo. One of the best advantages of the duo format is that
it can rehearse easily and can most efficiently gig around town (like Adam
and Satan, Sonny Terry and Brownie McGhee, Steve Baker, Madcat, etc.). A duo
can play places that bands cannot due to budgetary or space limitations.
Bands can be financially unfeasible so use the solo/duo/trio
format to play everywhere, college draft houses, pizza parlors, churches, hospitals,
private yachts, and openings of new buildings and condo renovations, etc. I
have even done gigs in Bloomingdales. You can never have too many duo partners
for all genres of music. You can host jam sessions or songwriter circles in
your home, bar or church and invite musicians to meet and participate. Teach
music at your local music store and you will meet lots of other pro teachers
and students for networking.
Consider using a simple drum machine (or sequences) with
your duo. Be wild and daring. If you have a trio or duo, consider adding
a bass player, guitarist, drummer, sitar player, percussionist, drum machine,
a DJ, whatever…Even
consider adding a drummer to your harmonica trio!! Make sure he can play soft
and tasteful, of course. Feel free to experiment with new and unusual ideas.
If you do not change what you do, is it fair to expect the world to change
to accommodate YOU?
When you are prepared, the best time to try to find your
first gig is around holiday time, like Christmas, New Year's Eve, or Valentine's
Day, etc. because live entertainment is more valued at this time. Market
your way into the gig. For example: "We play music for lovers" on
Valentine's Day; "We
do Christmas songs," etc. But make sure to back up your claim. Your reputation
is priceless and must be cultivated and nurtured.
15. Can you put together almost any type of band or ensemble
for any situation – even
hiring a complete band for a special project?
+ Let's say the client/agent/club owner wants a duo. You
got that! He wants a trio or a quartet or a full band with dancers if they
want 'em? You got that. They want a background jazz quartet and then funkin'
dance music? "Yes
sir, I have it. Would you like to hear the demo?" They want Brazilian
music or hip-hop? "No problem, ma'am, we have that as well." Try
to associate and collaborate with as many musicians as you can. Of course,
never promise something you cannot pull off (unless you just want to be a booking
agent and hire outside bands for a commission).
This suggestion requires you to master most styles of popular
music and be able to put together a set list for each style of gig - not an
easy task, but certainly attainable..
Here are a few examples of customized entertainment.
EXAMPLE ONE- I received a call from an agent to provide
the entertainment for the opening of the IMAX Theatre premier presentation
of “EVEREST”,
the 3-D tour up the mountains. The producer of the film was flown in to attend
the black tie function. I only had a few days to put it together, so I purchased
the Planet Drum CD (featuring live percussion grooves from around the planet).
I hired Jimmy Ruccolo, the great guitarist (who also had a sitar) and a percussionist
and we jammed on harmonica, guitar, sitar, percussion and drum/bass tracks
during the opening cocktail hours before the show. It was a very mysterious
and incredible sound and felt that the guests were actually embarking on a
trip up the mountain. The agent and guests were very happy.
EXAMPLE TWO- Another time I was called to open for a
band at Jazid, a oh-so-hip nightclub in the heart of Miami (Southbeach),
Fl. I hired a DJ and Delmar Brown (the wild electric keyboardist for Miles
Davis). The DJ spun the most amazing grooves and Delmar and I jammed and
made the club come alive. We both dressed up in neon colored clothes and
performed with a black light and strobe. Outasite, man………….
EXAMPLE THREE- In college, I created and organized the
first “NO CAR
DRIVE IN MOVIE”. I had 50 white bed sheets sewn together by a team of
volunteers and hung them on the outside of a five story dormitory covering
one entire side. I rented a special movie projector and showed the movie “The
Bride of Frankenstein” on the side of the building!! Of course, my band
played as an opening act for the movie as everyone brought beach chairs on
blankets to the lawn. It was wildly attended and became a yearly tradition.
In other words, you are limited by your imagination, not by
your environment. Become an optimistically accomplished versatile musician
who entertains, knows business and keeps his word and you can join the ranks
of the permanently employed.
Read Part Two
Best wishes.
Randy Singer
www.randysinger.com
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