Students and paying gigs

Sometimes I get phone calls from people hoping to hire my students for gigs. I’m delighted when I can pass a professional opportunity on to a hardworking, high-achieving student, but often these calls are troubling.

Obviously, the callers want students because they assume students will work cheaply. Lots of college students work for not much money, as restaurant waitstaff, custodians, babysitters, and so forth. Those jobs don’t pay much because they are (ostensibly) “unskilled” labor. But “musician” is very much a skilled job.

The Symphonic Wind Ensemble is the premier wind/percussion ensemble in the School of Music.  This highly select, 40-member ensemble represents the finest wind and percussion instrumentalists on campus. The ensemble will perform at this year's Penn State President's Concert at the Strathmore Music Center near Washington, D.C. The President's Concert, a joint production of the Penn State President's Office, the School of Music, and the Alumni Association, has been held at major concert venues including Heinz Hall in Pittsburgh, Kennedy Center in Washington, D.C., and the Kimmel Center in Philadelphia. Last year's concert was held in Carnegie Hall.
photo, Penn State

Not long ago I was hired to play lead alto saxophone for a gig backing up a singer, and the contractor asked if I had a couple of students who could play in the section. Then he asked what I thought would be fair to pay them. I told him immediately that he was hiring them to do a professional service, and should pay them as professionals. Happily, he saw my point and agreed to those terms.

I suppose some hiring parties assume that students will be cheaper than non-students because they are not as skilled, and therefore can’t negotiate higher fees. (This may or may not be the case—I’ve certainly played gigs with “professionals” who would be far outclassed by undergraduate music students.) Sometimes they want to compensate for hiring less-skilled musicians by planning extensive rehearsals. In most cases, I think they would better spend that same money hiring skilled players to sight-read.

Musicians, enrolled students or not, are specialized, skilled professionals, and should be treated (and compensated) as such.

Teaching multiple instruments: IDRS 2016 presentation

Lecture notes from a presentation on teaching multiple instruments, especially double reeds in a higher education setting, from the 2016 International Double Reed Society conference.

Report: 2016 International Double Reed Society conference

I had a blast at the 2016 International Double Reed Society conference, hosted by Columbus State University in Columbus, Georgia. As I have said before, the IDRS puts on an outstanding conference, maybe my favorite of the various woodwind conferences I attend. Very well organized, with lots of outstanding talent, varied events, and presences from … Read more

Favorite blog posts, June 2016

Hand-picked high-quality woodwind-related blog posts from around the web, June 2016 edition.

Tonguing and language sounds

Be wary of pedagogical approaches to woodwind articulation that depend on analogies to speech sounds. The most common, at least in the English-speaking world, is the idea that tonguing is like saying “too” or “doo.” And certainly there are significant mechanical similarities, especially with “too.” “Doo” doesn’t work as well because it is a voiced consonant, … Read more

Woodwind instrument “care kits” are bad news

Congratulations on your new student-level flute, oboe, clarinet, bassoon, or saxophone! Your music store’s friendly sales associate is probably insisting that you purchase a “care kit” as well. I recommend that you do not buy it, because it is, at best, a waste of your money, and, at worst, a hazard to the instrument’s wellbeing.

Favorite blog posts, May 2016

Hand-picked high-quality woodwind-related blog posts from around the web, May 2016 edition.

Please stop telling your clarinet students to tighten their embouchures

Good clarinet playing requires a high voicing. That’s why your clarinet section is flat and tubby-sounding.

Things you need to cover in woodwind methods class

If you are teaching a woodwind methods course, you might be interested in my book.A few years back I posted a rant about non-mission-critical information in woodwind methods textbooks. This is a course primarily for instrumental music majors, who will go on to become school band or orchestra directors, and who need a crash course … Read more