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Friday, September 26, 2014

Advice to Future Musicians and Music Majors

Now that I am on vacation, I was asked to speak to a group of high school students about life as a professional musician and also what it took be to a music major in college.  It made me reflect back on my own experience and also the last several years of being a musical director and working with musicians from all over the world.  Here ten pieces of advice for anyone thinking about majoring in music or pursuing music as a career:

  • Learn to read music as fluently as possible.  Music is a language and it is impossible to communicate professionally if you are not fluent in that language.   I know professional musicians who are able to earn a living and they don't read, but they admit they have been limited because of that fact.  In certain situations, like becoming a music major or certain professional settings such as an orchestra, learning to read is simply not an option, it is a fundamental requirement.  The most successful musicians I have worked with are great readers.  Having good ears is important as well, but being able to read sheet music gives common ground to all the musicians in the room.  I have worked with musicians who could not speak English and I could not speak their native language and we got by without a problem through the language of music.
  • Play as much as you can and gain experience in as many genres as possible.  Audition for bands, find other musicians and play together.  Look for community groups (theater, orchestra, etc.) because those will help as well in the future.  When I was studying classical percussion, I was taught to be very particular about the sound I was creating; that drive continues to help me whenever I play drumset because I am more aware of the sound I am producing around the set.  When I was in high school I joined a reading band (meaning a band that rehearses but doesn't gig) that met once a week in the basement of an orthodontist's house.  For most of the time I was the youngest person there and one of the few that was pursuing music as a profession.  I didn't make any money from it since we didn't gig, but I did gain a lot of experience.  We read through 10-15 different charts each week and there are still times, 20 years later, that I am familiar with a song because of that band.
  • Actively listen to as much music as possible. I hate when people ask me what is my favorite kind of music or who is my favorite artist because I don't really have an answer.  They assume that because I am a musician that it is easy to name one, but I think it is because I am a musician that it becomes impossible to chose one.  When I was in 8th grade, my band director gave me recordings of great drummers and that completely changed the way I looked at a drumset.  The first recording she gave me was Dave Weckl's solo album, "Masterplan," and I literally wore out the cassette tape from playing it so much.  That one little effort from my band director pushed me to find more good music.  I went from being a passive listener to being an active listener trying to break down the playing styles of world-class drummers.  Don't just throw on music in the background; instead, listen and analyze what it is you are hearing.  Listening to music kind of fills up this musical reserve that we all have and then we draw from it every time we play.  Learning to transcribe is a valuable skill.  I don't mean playing it back note for note, but I am a better funk drummer because I listened to David Garibaldi and Tower of Power and I am a better rock drummer because I listened to John Bonham and Led Zeppelin and so on.
  • Learn how to practice.  Ok, this sound obvious, but it isn't always a skill that advanced younger musicians develop.  The problem lies in the fact that natural talent can only take a musician so far; eventually they will hit a wall.  Now when they hit that wall is different for each individual, some in high school, some in college, and some out in the working world.  But it will happen and if the musician hasn't learned how to practice at an earlier age then it will spell disaster.  Even if the music you are currently playing is easy for you, continue to develop the skills of how to practice because at some point they will be needed.
  • Find information.  We live in a world inundated with information.  It's both a blessing and curse.   I wish I had access to so much information when I first started learning to play drums.  Must be nice to be able to pull up any drummer through a YouTube video.  But all of that information is nothing if we don't know how to use it.  I can't read a medical textbook and call myself a doctor just like I can't read a drum method book and call myself a professional drummer.  Find a private teacher, somebody who can guide you through books.  Plus, unless you are recording every single practice session, you need somebody to listen to and evaluate your progress.  Seek out people who are experts at what they do and have more experience than you.  I have been incredibly fortunate to be able to watch a lot of amazing drummers perform at shows, clinics, and conventions.  9 times out of 10, those famous musicians that younger musicians idolize are actually really nice people who remember what it was like to be starting out.  Chances are they will take a moment to answer questions.  Find professionally gigging musicians in your hometown and find out how they do what they do.
  • Don't be afraid to try something new.  I remember being absolutely terrified of Latin styles when I was younger.  The independence required made me not even want to try.  It just seemed like something I wasn't meant to do!  Same goes when I enrolled in a basic jazz improvisation class and I had to play piano, an instrument I never had played before.  But I learned so much in both of those experiences and I am so glad I didn't let my fear stop me.  When I was in high school, I broke my foot which meant I couldn't play drumset, even though I was enrolled in my school's jazz band.  I took the opportunity to learn more about hand drums and starting playing congas when it fit.  Again, that drive to create a good tone made me think more critically about the sound I created on the set with sticks.
  • Push Yourself.  You never know your true potential until you push yourself to your limits.  This is true about music and life in general.  How far can you run?  You never know until you run until you can't run any more.  I remember growing up in Cincinnati and thinking I would attend a local college because it was close to home and it was familiar.  But luckily my band director encouraged me to visit other programs and it turned out that I found a great music school at the University of North Texas.  The music school and percussion program greatly shaped me to what I am as a musician and I am so thankful that I made the decision to go there.  The program is demanding and it was never easy.  There are so many excellent musicians and it takes constant practice for lessons and rehearsals, but it all made me a better musician and a better person.
  • Set goals and know what it is you are working towards.  This can always change as you are growing and developing as a musician, but continue to set goals and go after them.  Imagine just getting into your car and driving without any particular destination in mind.  Doesn't sound very efficient, right?  Same thing for wanting a particular career path but not setting goals on how to get there.  Goals don't have to be these lofty things that sound great but are next to impossible to reach.  You can have those as well, but make sure you have goals that you can reach; they can even be on the way to those bigger goals.  Going back to the driving metaphor, if you are taking a cross-country road trip from New York to Los Angeles, those aren't the only points on the map.  Instead, there are place in between, the points along the drive to make sure you are going to end up exactly where you want in the end.
  • Learn when to take a break.  It is easy to get burnt out in music or in any career really.  Set aside time for other things.  Take up a hobby, and it is better if that hobby is something completely unrelated.  If you are a performance major and your hobbies include arranging music, listening to music, and attending music concerts, that's not really ever taking a break from music.  Instead, learn how to paint or write, watch a movie, attend a sporting event, or spend time with friends discussing things that aren't music.  Make friends that are outside of your professional or college major.  For me, my break is in getting out and visiting places, especially with my wife.  I like to take photos.  I also enjoy keeping up with my favorite sports teams and watching in person when I can.  Knowing when to get away is important.  There are times when spending more time practicing or more time writing starts to become counterproductive and a waste of your time and energy.  Instead, know when to walk away for a bit and take a breather.  That way when you go back to it, you come back refreshed and maybe with a different perspective.
  • Always remember that music is a business.  Yes, it can be a fun and rewarding business, but it is still a business.  Return phone calls, emails, and texts and be professional.  Do not be late and have a good attitude while you are there.  The music world is a small one and word travels fast, both good and bad, so just because you think you will never play with a particular musician again, you never know who that person knows.  And just as with any other kind of job, there are probably little parts that you may not enjoy (paperwork, driving, setting up and tearing down equipment), but don't blow them off just because you don't enjoy it because it will come back to bite you later.  Whenever a bandleader is hiring, they will chose people they enjoy playing with, which may or may not be the most talented people.  Music is about interaction and collaboration on stage, in the studio, or wherever the music is happening, so don't make it a miserable experience for the other musicians.

This list is not meant to be an all-inclusive list, but just as a bit of advice.  Feel free to comment at the bottom and add your own pieces of advice!

2 comments:

  1. I'm finishing a 4-month contract in a few days, and am very ready to be on land for a while. As a solo lounge entertainer (piano bar), it is possible to have a large varied repertoire, but it still weighs on one to get requests for "Piano Man" and "Tiny Dancer" three times per night. In addition, I think there is just something about spending so much time on a ship that makes the body long for ground. Staying healthy is imperative, and sadly the crew mess often makes that difficult, with most dishes containing lots of fat and animal products. White rice and salad is tough to do long-term, and the rice is a pretty nutritionally denuded product. Sleep can also be tough sometimes with ship noises, etc. This is my 2nd contract and I'll probably do more, but will need to have some land-based perspective before signing on again. It would be interesting to here what your ships had for lounge entertainment, what music worked and what didn't, and how the success (or relative failure) of an act may correspond with the age and background of the cruise guests. It was very interesting to note the radical change of audiences from summer (young and rowdy) to fall (older and more sedate).

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  2. Thanks for the comment. The ship I last worked on was very small (only 600 guests) so we had the orchestra plus one piano bar entertainer and one solo guitarist. But on larger ships I worked on we had a dance quartet, ballroom trio, Latin trio, etc.

    The music that worked depended on the demographics at the time, my last ship was more of a "world cruise" so each one was different with no repeated itinerary, home port, or cruise length so our demographics were a little more stable compared to one that is more dependent on the seasons. But in general, the longer the cruises, the older the guests, the shorter the cruises the younger. Then throw in school holidays and then the whole family comes out. On my last contract there were hardly ever kids; the ship didn't even have services for them.

    The lounge musicians I worked with who were the most successful were able to stretch themselves to meet whatever the majority of the guests needed. That did sometimes mean going to download seemingly random song requests that started popping up more and more. Luckily in the case of the piano bar and one guitarist, they were completely different. The piano bar entertainer played more classics and even going back to ragtime, etc. The guitarist was more modern playing light classic rock/pop and even some current music, but done in kind of a Jason Mraz-ish singer/songwriter kind of way. It was great because all guests basically had something to suit their musical tastes.

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