“How I Became a Broadway Musician” at MusicianWages.com
Pianist David Hahn at MusicianWages.com recently posted a 5-part series on his path to becoming a musician on Broadway. Check it out!
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Endorsement deals
First, let’s be clear about this: in an endorsement deal, the artist endorses the product or brand. The product or brand doesn’t endorse the artist. If an artist claims to be “endorsed by” a company, that is incorrect word usage.
An endorsement deal means that an artist agrees to be publicly associated with a product or brand, presumably because the company thinks that will encourage more people to purchase their products. In return, the artist generally receives some kind of compensation, which often takes the shape of free or discounted products. The contract might specify some requirements for the artist to fulfill, such as having their name and image used in advertising, appearing at the company’s publicity events, or plugging products on social media. Read More “Endorsement deals”
Don’t work for exposure for brands, either
It’s a common rallying cry among freelance musicians that you shouldn’t play gigs that pay in “exposure.” Exposure doesn’t pay the bills, and playing for free devalues your skills and others’.
But there are more ways that musicians become convinced to work for someone else’s bottom line and get nothing back but maybe a little “exposure.”
Unsolicited product endorsements are a common one. An endorsement deal with a company should involve some kind of tangible benefit to the musician: money, free or significantly discounted products, or maybe something like funding to support travel or musical projects. If you’re hashtagging your favorite brands in every social media post, and the companies aren’t supporting you back in a meaningful way, you’re working in their advertising department for free.
Creating online content for companies is also often the same as working for exposure. If a business wants you to provide them with articles, educational materials, videos, photos, artwork, etc. for their social media posts or company blog, they are asking you to do creative work without compensation. (Sometimes these efforts are creatively described as “contests.”)
I’ve gotten many “offers” to have my blog posts “reblogged” (copied) onto corporate websites, with a vague promise that this will generate “traffic” to my site. I fell for it a few times in past years, and it always resulted in a small handful of clicks that dried up after a day or two, and then my content lived on for free on someone else’s site. Now my content all stays here, where these days I get more traffic than the corporations offering me “opportunities” to hand over my work.
Whether it’s gig work, writing web content, or attaching your good name to a product, value yourself enough to ask for what you’re worth.
Responding to free or low-paying gigs
Here are some sample scripts for phone calls or emails about “gigs” that pay nothing, or not enough. (Some inspiration came from Jessica Hische’s online tool for responding to graphic design inquiries.)
A friend wants you to provide music for a wedding, party, etc.
Sounds like a fun event! Thanks for thinking of me. There are a couple of ways we can handle this:
I can treat you like a regular client, with a real but affordable budget. Usually I charge [$XXX] so I can afford the time and expense of putting together a really great [party band/wind quintet/jazz quartet/etc.]. I charge extra for special song requests so I can work out [sheet music/rehearsal time/etc.]. Let me know and I’ll fill you in on the usual details about how and when to make payment. Since you’re [my bestie/my brother-in-law/etc.] you’ll get my top-of-the-line professional treatment plus [some extra love/a 10% discount].
Or, if it works better for you, I could just pick out one song I think you will really like, and it will just be me with my [flute/saxophone/etc.]. I can play it to help make a moment that is extra special, and then I can hang out with you and the gang for the rest of the night. You can just [feed me dinner/give me some free tax advice/call it a wedding gift] and we’ll consider it even.
A non-profit or other good cause wants you to donate musical services for a fundraising event:
Thanks for reaching out. I really respect your cause and what you are trying to accomplish.
Since I do this for a living, I’m sure you understand I have to be careful about giving away my time for free. Do you have a budget for the event that is paying for the [food/waitstaff/venue rental/prizes]? If so, maybe we can come up with an affordable option, like [a duo with me and this great cellist I know]. As a policy I really can’t give away my time when other professionals are being compensated. If everyone involved is 100% donating their services, then I can play for free occasionally for the causes that are most important to me personally, [and I would be happy to help for an hour/but I’ve really already done all the charity work that I can afford lately].
A business or person wants to hire you and can seemingly afford to do so, but has underestimated the cost of your services:
I appreciate the offer and would be interested in figuring out a way that we can make this happen. At this point it sounds like you are working with more of a [DJ/somebody’s-iPhone-plus-a-Bluetooth-speaker] budget, and if so then I might be able to recommend somebody.
But if I’m understanding you right, you’re looking for that really classy, upscale touch that live music provides. To give you that kind of service, I have to charge [$XXX] to hire the best people for the band, taking into account it will be an hour’s drive for everybody, plus there’s the time to set up and tear down all our gear. Don’t get me started on the gear—it cost as much as my car! I’m sure you get where I’m coming from.
Listen, I provide the very best for my clients, like I know you do for yours. My band just played for [the mayor’s/your competitor’s/etc.] holiday party—they like us so much they have us back every year. What do you say to giving us a try?
Musical skill is a real and valuable thing—don’t be afraid to ask for what you’re worth!
Interview: Stefanie Harger Gardner, clarinetist and #clarequality activist
Dr. Stefanie Harger Gardner teaches clarinet, chamber music, and music theory at Glendale Community College and Ottawa University. Previously she served on the faculty at Northern Arizona University. Gardner has performed with Arizona Opera, the Phoenix Symphony, Red Rocks Chamber Music Festival, Seventh Roadrunner, the Paradise Winds, and the Égide Duo, whose mission is to commission, record, and perform music inspiring social change. During her time as chair of the International Clarinet Association New Music Committee, Stefanie founded and organized the biennial ICA Low Clarinet Festival and the annual ICA New Music Weekend. She has performed in concert with PitBull, Ceelo, Tony Orlando, Reba McEntire, Michael Bolton, David and Katherine McPhee Foster, Jordin Sparks, Weird Al Yankovic, Hanson, and The Who. Her chamber music albums are recorded on the Soundset label and can be heard on iTunes, Spotify, and YouTube. In 2012, Gardner won first prize at the International Clarinet Association Research Competition with her study, “An Investigation of Finger Motion and Hand Posture during Clarinet Performance.” Gardner received Bachelor, Master, and Doctor of Musical Arts degrees in Clarinet Performance from Arizona State University, studying with Robert Spring.
Here’s my interview with Stefanie:
BP: What is #womenplayclarinettoo?
SHG: I’m lucky to have a strong network of women all over the world speaking up about female representation in the clarinet community: Sarah Watts, Julia Heinen, Carrie RavenStem, Dawn Lindblade-Evans, Lara Diaz, Marta Kania, Fie Schouten, Kristine Dizon, Larkin Sanders, and many others. We use this hashtag to promote clarinet events embracing equality and to call out events lacking in representation of women and other marginalized populations. We are actively working together to ensure the future of clarinet is welcoming of all underrepresented populations (races and ethnicities, gender diversity, sexual orientations, and those with disabilities). In short, we are a coalition of worldwide clarinetists using our voices to demand change.
Why did you start #womenplayclarinettoo?
The hashtags #womenplayclarinettoo and #clarequality grew out of frustrations that women and other marginalized groups have been excluded in recent clarinet events. In just April and May of 2023, there were at least 24 international festivals with male-only faculty, jurors, or guest artists.
We publicly asked the organizers and panels of these events on social media “Where are the women?” Many organizers did not reply, deleted our comments, emailed us or privately messaged us threats, or, even worse, said that they only hired the best faculty and artists (implying that women can’t play or teach as well as men). We have asked sponsors to think carefully about supporting these events, and how that reflects on their company and their consumers.
What are the goals of #womenplayclarinettoo and #clarequality?
We believe that our clarinet community is made stronger by the diversity within it. Events within our community should represent our diverse makeup and be accessible to all. We are inviting all clarinetists to join us by taking this pledge:
“I am an ally and advocate for equality and diversity in the worldwide clarinet community. I will inquire about, support and insist on increased visibility and opportunity for underrepresented populations; races and ethnicities, gender diversity, sexual orientations, and those with disabilities in events and programs that I take part in.”
Clarinetists and sponsors can sign the pledge at clarequality.com and have their name listed on the website as allies for equality. There are “next steps” to becoming an ally listed on the website as well.
What are some of the ways gender inequities are manifested in the world of clarinet playing?
Many women in the international clarinet community have come forward with personal stories of inequity, harassment, and even sexual abuse by male colleagues and teachers.
The #womenplayclarinettoo movement has met resistance from some men in the clarinet community. Some have told us to “be more ladylike,” “stop shouting,” or “plan your own events” (excuse me, but we do!), or warned us we are “burning bridges.” Others have threatened lawsuits and changed our slogan to “B****es play clarinet, too!”
Asking nicely or ignoring the issue has not brought change. With our campaign, we are finally getting festival organizers and sponsors to think carefully about their rosters and programming, and getting allies to spread the word and speak up for us too.
What experiences have you had with gender inequity as a female-identifying clarinetist?
In addition to never having a female teacher or role model, I am often the only woman in the clarinet section. It is rare for me to play with another professional female-identifying clarinetist in orchestras and other gigs. I’ve been attending ICA festivals for decades now, and it has only been in the past 5 years or so that we have had women headliners at the night concerts. I can recall past years like 2016 when there were zero women soloists at the coveted night concerts.
I want my diverse clarinet studio (primarily female, Hispanic, and LGBTQIA+) to see themselves in the performers they admire and want to study with. I don’t want my students to feel like they don’t belong in the clarinet community because they don’t look the same as the teachers or artists in the poster, or that they can’t be professional clarinet players too.
When with my spouse, Joshua Gardner (another professional clarinetist) at music festivals, I am often introduced as “Josh’s wife” and rarely introduced as another clarinet player or even by my name. (To be clear, Josh never introduces me this way, but other males in the clarinet community often do.)
The low clarinet community used to be very male dominated, but in recent years has been a very accepting community of all marginalized players with the work of Sarah Watts, Jon Russell, and the very first ICA Low Clarinet Festival. 50.6% women low clarinet artists performed at the festival last January.
Has there also been positive response to #womenplayclarinettoo and #clarequality?
The ICA has taken notice of the #womenplayclarinettoo and #clarequality movement. Many of the board members use profile picture frames, created by Carrie RavenStern, for their social media accounts. They also worked with us to create a powerful diversity statement to remind the international clarinet community that we are an inclusive community.
Where can people find you on the internet?
Where can people find #clarequality and #womenplayclarinettoo on the internet?
Interview: Jay Mason, saxophone and woodwind artist
One of the cool people I’ve come in contact with through this blog is Jay Mason, a very busy southern California woodwind player. If you’re a fan of Gordon Goodwin’s Big Phat Band (and you should be), you have heard Jay’s baritone anchoring the saxophone section. You may have also heard him on film scores (like the recent Monsters University), on television (The Tonight Show with Jay Leno, for one), in the theater (numerous productions around southern California), on high-profile recording projects (Patti Austin, Barry Manilow, Chick Corea…), and backing up a wide variety of marquee acts in concert (Barry White, Kenny Rogers, Michael Bolton, Bob Hope, and many more). He also teaches at Cal State Long Beach and Concordia University – Irvine. Jay was nice enough to take the time to answer some questions about his work.
Jay Mason and friends BP: What do you do for a living?
JM: A combination of playing saxophones and woodwinds in recording and live situations, and music education.
What education (formal or otherwise) and experience prepared you for the work you do?
I was very fortunate to have several great young players in my high school bands, both jazz and concert band, who have gone on to successful careers in music. The choir director there started a music theory class during my junior year, which was very thorough and inclusive of many styles, which really helped me to understand how music works, not just how to play. In college, quite a few of the professors either were or had been involved in studio and live work, and working with them, talking shop, etc. helped me to understand what I needed to do if I wanted to become part of that scene. In terms of experience, the opportunity to double on flute and clarinet, as well as all of the different types of saxophones, came along in college in a variety of situations in and outside of school: musicals, different ensembles, saxophone quartets, you name it. After college, I performed at Disneyland for quite a while, which put me into a huge variety of situations, playing everything from piccolo to bass saxophone, often having to read new material or learn new parts quickly, and make it happen day in and day out, no matter the weather, the crowd, or my mood and health.
What is a typical work week like for you? Read More “Interview: Jay Mason, saxophone and woodwind artist”
