Becoming a professional musician

person holding white paper

Sometimes when my students get paying engagements for the first time, I joke with them that they are now “professional” musicians. That’s true in a sense, but I think there’s more that goes into being a true professional.

If you are a college student aspiring to be a professional musician, here are some things you might ask yourself:

  • Am I reliably on time to things?
  • Do I always have a pencil? Extra reeds? Whatever else is needed?
  • Do I show up to rehearsals with my parts learned and ready?
  • Am I self-motivating when it comes to practicing?
  • Am I pleasant and cooperative on a gig or in a rehearsal?
  • Am I easy to contact, and prompt about replying?
  • Is my closet stocked with clean, sharp gig apparel?
  • Do I keep my instruments well-maintained?
  • Do I have a sense of what my time and talents are worth, and a firm but polite way of expressing that?
  • Do I meet and exceed my teachers’ expectations?
  • Am I willing to play any part, including the less-prestigious ones? Am I willing to put my best into supporting someone else’s solo moment, even if I think that opportunity should have been mine?
  • Have I recorded myself lately? Did I come away from it with some ideas of what needs improvement?
  • What are the most common issues my teachers or ensemble directors mention about my playing? Am I addressing those in a focused way?
  • Am I responsive to useful criticism, thick-skinned against non-useful criticism, and able to tell the difference?
  • Is there anything about my playing or demeanor that would cause stress to someone who hired me for a gig? Am I currently stressing out my teachers, directors, or fellow students?

Graduation from college doesn’t guarantee you any gigs. Become the person that other musicians want to work with.

Preparing for a fatiguing performance

alone bed bedroom blur

If you are practicing and concerned about fatigue during an upcoming performance, here are some (woodwind-centric) things to consider. Embouchure. The embouchure is a frequent site for fatigue, but it shouldn’t be. Embouchure pain or tiredness in a conventional performance situation is usually a sign of incorrect tone production technique. (Not a matter of needing … Read more

Favorite blog posts, July 2021

Hand-picked high-quality woodwind-related blog posts from around the web, July 2021 edition.

Voicing for multiphonics

One of my favorite tips for producing woodwind multiphonics comes from J. Michael Leonard’s Extended Technique for the Saxophone. (Mine is an older edition, I think.) The book’s section on multiphonics gives two pages of instruction and and a one-page fingering chart with diagrams like this: The “aha” moment I got from this was the … Read more

When there’s no place to breathe

When you’re working on a new piece and there’s no place to breathe: Re-examine. Are you sure there’s no place? Tonal wind-instrument music usually has phrases. To find them might take some careful analysis, or maybe listening to a recording to check out someone else’s solutions. Once you know where the phrases end, you may … Read more

Favorite blog posts, June 2021

Hand-picked high-quality woodwind-related blog posts from around the web, June 2021 edition.

Woodwind Doubler Census 2021 results, part 5 (final): self-identification

Thanks to all who participated in my 2021 woodwind doubling survey, and to those who helped spread the word. I’ve released the results in installments, so be sure to check out the rest. I got 284 responses, an improvement over 2011’s 187. The numbers for each of these questions don’t necessarily add up to exactly … Read more

Woodwind Doubler Census 2021 results, part 4: gigs

Thanks to all who participated in my 2021 woodwind doubling survey, and to those who helped spread the word. I’m releasing the results in installments, so be sure to use my social media links, RSS feeds, etc. to keep up. I got 284 responses, an improvement over 2011’s 187. The numbers for each of these … Read more

Woodwind Doubler Census 2021 results, part 3: training/education

Thanks to all who participated in my 2021 woodwind doubling survey, and to those who helped spread the word. I’m releasing the results in installments, so be sure to use my social media links, RSS feeds, etc. to keep up. I got 284 responses, an improvement over 2011’s 187. The numbers for each of these … Read more

Woodwind Doubler Census 2021 results, part 2: doubling abilities

Thanks to all who participated in my 2021 woodwind doubling survey, and to those who helped spread the word. I’m releasing the results in installments, so be sure to use my social media links, RSS feeds, etc. to keep up. I got 284 responses, an improvement over 2011’s 187. The numbers for each of these … Read more