It's that time of year, when everyone who's not heading back to school is starting to look around and wonder, "what next?" I wrote this article back in 2014 and it has been published in a couple of places, but I don't think anything much has changed. For further reading, however, the landscape is looking brighter all the time. Shout-out to Brandon Upshaw's Startup Musician blog and his downloadable book, This is How We Do It.
So You Want to Be a Freelance Musician
So You Want to Be a Freelance Musician
Nicole Riner
The musical community is becoming a more creative, dynamic
place. Never before have there been so
many opportunities to develop your own path as a music entrepreneur. You may decide this is the path you choose to
take after school, rather than pursuing the more traditional graduate
school-to-professorship trajectory or devoting yourself to orchestral
auditions. This will often mean moving to a more urban environment with an arts
scene after college. Moving to a new city is challenging if you do not have
personal or musical connections there.
You will start out in the back of the line behind local professors and
their graduate students, recent graduates who stayed in town, important
people’s spouses, and those who have been a part of the local scene since you
were a toddler! But don’t lose
heart--you will eventually be recognized for your reliability, talent, pleasant
social skills, and humble, hard-working attitude as long as you consistently
display those qualities whenever you have the opportunity. Some tips:
Be ready to self-promote. Get your one-page
resume looking as good as it can, and make it easily available. You can carry paper copies with you wherever
you go, but paper is becoming a thing of the past. It’s better to also have all the information
you want to convey on a website (resume, bio, performance calendar, teaching
philosophy, sound clips, etc.) and get some great-looking business cards made
to share your information quickly and easily.
Study other websites from people in your field and copy the best. Do some shopping for hosts--new companies are
constantly forming to offer affordable package deals on the domain name
alongside some pretty professional-looking design help.
PS--a website filled
with bravado and not much else is rather annoying (and ubiquitous,
unfortunately); create a website that celebrates your victories while also
allowing people to get to know you as a musician. This is why I think a well-written teaching
philosophy is so important: it allows potential students and their parents to
make a connection to you and feel comfortable choosing you as their teacher.
Share your particular interests, whether it’s classical-jazz crossover music or
Latin American folk music. Your website
helps you get past the awkward stranger phase.
Stay in shape. The
imposed down-time of having no gigs in a new place allows you to be in the best
shape of your life. Design an efficient
regular practice routine so that you are always ready at a moment’s notice to
fill in at a gig--these will most likely be your first calls. Scales, long tones, orchestral excerpts, and
sight reading practice should all be prioritized, as well as familiarizing yourself
with any common chamber music literature you haven’t yet learned (woodwind
quintets, flute trios, etc.). Your goal is to be able to say yes to anything
that comes along and to play so well that you get called again. No excuses.
When I was new to a previous city where I worked, I received
a call at 8am asking me if I could step in for a sick piccolo player for a
days’ worth of recording demonstration CDs for band programs. The gig started at 9:30am, and with traffic,
I had to leave my apartment as soon as I hung up. While I don’t normally consider myself a
piccolo player, I had been practicing it hoping it would increase my chances of
getting called, and so I was ready to pound through Hal Leonard arrangements
for four hours. My paycheck that day was
the largest I had received up to that point, I met several movers and shakers
in the local gig scene who remembered me for future work, and I got credit with
contractors for being willing to drop everything and save the day.
Make calls. Contact
local band directors about coming in to teach pull-out or after-school
lessons. Call the personnel managers of
local part-time orchestras and ask if you can audition for the sub list. If there is a good college or full-time
orchestra in your area, contact the flute professor/ principal player and take
a lesson, expressing your interest in subbing and other side work if you hit it
off (be prepared to pay a premium for these lessons, though). Learn who the contractors in your area are
and email them your press packet of headshot, resume, bio, and links to
pertinent information on your website.
In short, make sure people know where to find you.
Look for a faculty to join. Any faculty, whether it’s a tiny private
college or a community music school whose clientele are mostly fresh out of
diapers, is a great place to meet other active freelancers. By making friends with the other adjuncts,
you can learn about gigs, create chamber music groups, and generally learn the
lay of the land. Teach flute, music appreciation, aural skills—in short, teach
whatever you responsibly can.
Create performance opportunities. Give a recital at a local church,
theater, or chamber music venue if it exists.
And be sure to promote that recital aggressively--contact local
newspapers, classical radio stations, and arts bloggers to announce the program
and offer yourself for an interview or review of the show. If it goes well and you are meeting
like-minded musicians at your part-time teaching job (see above), consider
creating a chamber music series in your town.
Say yes to everything.
Any work even marginally related to performing could lead to more
performing. Just do anything you feel
capable of doing that will allow you to work with other musicians and let them
see you shine. Entry-level arts
administration work, becoming a sub-contractor for gigs, or just teaching or
playing in situations you didn’t imagine for yourself are all fair game. I don’t spend a lot of time with small
children, but I have played my well-worn Peter and the Wolf excerpts and Harry
Potter themes for them a number of times in their elementary schools, and I am
always playing with great musicians, some of whom have great gigs. And eventually they mention my name to their
contractors.
Consider working for free. It’s a painful concept after so many
years of playing for free as a student, but I think you go back to square one
whenever you move to a new place. You have decide if the situation is right for
you. If the unpaid gig will ingratiate
you with a busy, overworked contractor or allow you to play for influential
musicians in the area, you can consider it an extended audition. However, if it’s playing for some
out-of-towner’s outdoor wedding in January, skip it.
What to do once you get a gig: by the time you start getting calls,
you will have gone through periods of frustration, mild depression, and panic
at the thought of having wasted your college years practicing your instrument
instead of doing something marketable.
Don’t let it show. Whether you
are playing beside brilliant musicians or people who seem ready to retire,
address everyone as a respected colleague.
That means patting your thigh in appreciation after orchestra solos in
rehearsal (good or bad) and thanking the regulars in the ensemble for letting
you play with them. And it most
certainly includes good social skills in general: make direct eye contact,
smile, offer your hand and introduce yourself.
Act happy to be there, even if it has been a difficult week filled with
rejections. There are far more good
musicians than there are jobs, so no one has to suffer your inflated ego for
the privilege of hearing you play. They
can just call someone else.
And whatever you do, treat every rehearsal, no matter how
mundane the music, as if it is the most important performance of your
life. You are being judged every time
you make a sound as people decide where to put you on the sub list.
It takes time to establish yourself, and that calendar can
vary. Every musical community is a small
one, and every action and statement you make will follow you. If you consistently--even when you think no
one is looking--present yourself as willing to work, hold yourself to a high
standard, and act generously and with kindness in the face of others’
struggles, people will want to work with you.
And the longer you remain that excellent colleague, the higher your name
rises on the sub list.
Nicole Riner ©2016
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