Category Archives: Gigs
From The Savvy Musician: military gigs and the saxophonist
Dr. David Cutler’s The Savvy Musician blog is worth checking out for high-quality career tips.
In a recent post, he discusses careers as a military musician. A couple of highlights for the woodwind-inclined:
With the possible exception of saxophonists and euphoniumists, few musicians dream of a military career. Yet this path can provide a dependable income, solid benefits, and varied opportunities.
This no doubt refers to the problem of “classically-trained” saxophonists with shiny new BM degrees and no gigs. Symphony orchestras, if you haven’t noticed, don’t hire full-time saxophonists. Military bands are about the only regular “classical” saxophone performing gig out there.
The best candidates are solid and versatile players who read well and are comfortable with number of styles. Doubling on multiple instruments (i.e. a saxophonist who plays flute and clarinet) is also highly desirable.
Even in military bands, the most employable saxophonists are the ones with doubling skills and stylistic versatility (for saxophonists, read: “jazz/rock chops”).
Dear 2000
I’ve been reading the “Dear 1999″ blogging project started by the guys over at MusicianWages.com. The project, which launched last month, was to have musician-bloggers answer this question:
If you could go back to 1999 and give yourself one piece of advice, what would it be?
I enjoyed the responses, including one from clarinetist Marion Harrington.
Although I was (*ahem*) not invited to participate, I’ve been thinking about the last ten years of my life and what brought me to where I am now. Over the last few weeks I’ve gotten a number of emails from musicians who are about the age I was ten years ago, who are interested in pursuing graduate school in multiple woodwinds, and so I’ve been in advice-giving mode already.
Since I missed posting at the end of 2009 anyway, I figure I can go ahead and change the format a little, as I think I’ve got more than one piece of advice for 2000 me.
Most of the “Dear 1999″ bloggers are pursuing careers as performers, which I consider to be an important part of what I do, but my newly-begun main gig is as a university music professor. I am fortunate to be doing pretty much exactly what I love and what I’ve been aiming for for the past ten years, although sometimes it was hard to tell if I was headed in the right direction.
So here’s my advice, 2000 Bret: (more…)
More on brass doubling
Prior post: Brass doubling?
Boston Symphony Orchestra bass trombonist Douglas Yeo has a page on his website with doubling tips. In addition to bass trombone, he plays bass trumpet and serpent. Not tenor trombone.
I don’t knock anyone for finding their niche. And Mr. Yeo is clearly a very accomplished musician—listen to some of his sound clips if there is any doubt. But I have to admit a few items from his doubling tips amused me as a woodwind doubler. (more…)
Why musicians cost money
I very much appreciate this brief article by trumpet player Jeff Purtle: Why Do Musicians Charge? Mr. Purtle makes the point that it costs a lot of money to be a musician. This is painfully true for woodwind doublers, who need not only a large number of high-quality instruments, but also reeds, maintenance and repairs, insurance, stands, cases, and more for each instrument, not to mention the cost of lessons or even college or conservatory study.
I think the overhead costs of being an instrumentalist are a really important and valid point. But I do think are some more reasons why musicians should expect to be compensated fairly for what they do: (more…)
Videos: John Miller, Broadway music contractor
I’ve been really enjoying these videos of John Miller. Mr. Miller (not to be confused with the eminent bassoonist) does much of the contracting of the musicians who play in Broadway shows. In these videos, he is addressing a group of his fellow bass players, but everything he has to say is highly applicable to woodwind players and anyone else who wants to make money playing their instrument(s).
John Miller, bassist and NYC contractor
He talks about what kind of musicians he likes to hire, what is expected of a professional musician on the New York City scene, and lots more. (more…)
Eight live microphone tips for woodwind players
If you are a classically-trained woodwind player, playing into a microphone might be a new experience for you.
A rock band that I play in (flute and saxophone) does a lot of shows in small clubs and bars, and the sound guy (or girl—I’m using “sound guy” from here on out, with gender-neutral intent) is usually used to miking vocals, guitar amps, and drum sets, and may or may not know what to do with a woodwind instrument. I can often help things along, and make sure the band and I sound our best, by coming armed with a small amount of knowledge.
Here are some basic tips for looking and sounding like you know what you’re doing. I’m assuming here that you’re not doing anything fancy gear-wise (there are plenty of options if you want to buy a clip-on mic), just showing up with your instrument and using the venue’s basic sound equipment. (more…)
Woodwind doubling gigs: seven basic tips
Here are seven simple things you can do to make a woodwind doubling gig go more smoothly.
(more…)
University woodwinds job postings, 10/12/08
I would have mixed feelings about taking a teaching job outside the US, but I would definitely willing to fly out for an interview for this one. Maybe for a couple of weeks?
- The College of the Bahamas – “…play and teach woodwind instruments and teach a variety of music courses. The ideal candidate will have a strong commitment to teaching undergraduate students; evidence of excellence in teaching and creative/innovative pedagogies; knowledge of current trends in pedagogy; skills in programme and course development and implementation; and a commitment to research.” See the listing
Doublers in the news: Douglas Owens
A nice mention of my buddy and colleague Douglas Owens in the Durango, Colorado Telegraph. Photo, too. Doug was my fellow DMA student in multiple woodwinds at the University of Georgia, and has gone on to a new job at Fort Lewis College in Durango. (more…)
Why I don’t loan out instruments
I am slowly building a good collection of high-quality instruments. It’s not easy to do that on a graduate student’s budget; I accomplish it by living frugally, saving carefully, shopping around, and generally putting a great deal of thought and planning into each purchase. I don’t buy instruments on credit. I protect my investments with conscientious care and maintenance, as well as an excellent insurance policy by a company that specializes in musical instrument coverage. (Incidentally, this policy quickly paid for itself, several times over, when there was an “incident” with my flute a couple of years ago. Seriously consider getting one if you don’t have one already!)
Every now and then someone asks to borrow an instrument from me. Often it will be a saxophonist who needs a flute or clarinet for a gig they have already agreed to play. My policy, which I have upheld almost perfectly for several years now, is simple: I don’t loan instruments to anybody, for anything, period. (more…)
