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.

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    Sample woodwind methods syllabus

    If you are teaching a woodwind methods course, you might be interested in my book.

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    Shortly before the beginning of fall and spring semesters, I usually get a few emails from new university professors and adjuncts looking for advice and resources on teaching woodwind methods courses. I’m happy to hear from folks, but thought it might be helpful to make available a generic syllabus based on how I teach my class.

    My class is 2 credits, and meets 50 minutes 3 times per week during an approximately 15-week semester. A few points of interest:

    • I cover all five major/modern woodwind families (flute, oboe, clarinet, bassoon, saxophone) within the single semester.
    • I do four units, with students playing a different instrument during each unit. Students who major in a woodwind instrument will play the four besides their major; everybody else plays just one of the double reeds. (In a perfect world I wouldn’t slight the double reeds this way, but there are some practical/logistical reasons.)
    • I teach my class with students playing a heterogeneous group of instruments, but since I use a concept-oriented approach this sequence should also work if you have everybody playing flute at the same time, etc.
    • I of course use my own book. Since I have students all playing different instruments, I pair it with a band method. If I were using a homogeneous group of instruments, I would swap out the band method for a series of individual methods.

    Download the syllabus in your preferred format:

  • What should be on your musician website

    It’s cheap and easy to create a website. Any serious freelance musician (or aspiring musician) should have one.

    This should be a website about you, an individual musician. It should be separate from your ensemble’s website or your academic institution’s website. It should exist long-term, and serve as a sort of permanent address for finding you online. If you do most of your online stuff on social media sites or on your organizations’ sites, that’s fine. Your individual website doesn’t have to replace or duplicate any of that. It can simply point people to those resources.

    I won’t go into any technical details here, because there is very extensive information available online about the ways to make websites. Suffice it to say that if you have only enough technical skill to send and receive email and post things on Facebook, there are website services simple enough for you to operate. Or if you want to roll up your sleeves and code every line from scratch, you can learn how to do that too.

    Here’s what you need, content-wise:

    Mandatory items

    • A domain name. Preferably this is something very simple and clear, like your name. Mine is bretpimentel.com. It works well because there aren’t a lot of Bret Pimentels, so web searches for my name usually put my site right at the top of the results.
      • If you have a more common name, you might need to add something meaningful to it. bretpimentelwoodwinds.com might work well, or bretpimentelmusic.com.
      • Pay for a real domain name. It’s not expensive. Something like bretpimentel.freewebsites.com looks unprofessional.
    • At minimum, a simple indication of what it is you do and how to contact you. That’s enough to be your whole website if you like. Here’s an example: “Bret Pimentel is a performer and teacher on the woodwind instruments: flute, oboe, clarinet, bassoon, and saxophone. Reach him at bret@bretpimentel.com.”
    • Some longevity. Go ahead and prepay the domain name and whatever hosting services you need for a good long time, maybe five or ten years, or set it up to renew automatically.

    Optional items

    • A more detailed biography.
    • A nice picture of you, especially one that helps reinforce what you do (like one where you’re holding your instrument).
    • Links to your social media profiles, YouTube channel, or other online things you want people to find.
    • Links to the websites of things associated with your career, like your performing ensembles or the institutions where you teach.

    Optional items with caveats

    Most of these things have to do with updating the content of your site on some kind of regular basis. That’s worth doing if your intention is to bring people back to visit your site again in the future. If you prefer to use your site as just sort of a digital business card, with no updating content, that’s fine too, and is much less effort to maintain.

    • A calendar of your upcoming performances. Only do this if you are thoroughly dedicated to keeping it up to date. An expired calendar makes your website look abandoned.
    • Recordings (audio and/or video) of some of your performances.
      • If you are hoping your website will help you get hired for things, only include recordings that you think appropriately and honestly reflect your current abilities.
      • Only post material you are certain you have the rights to post. For most individual-musician websites, chances are slim that anyone will take legal action against you for posting copyrighted material, but it’s still decent and polite to respect others’ intellectual property. (Acknowledging your non-ownership doesn’t make it okay to post something that isn’t yours. The copyright owner has to specifically give you permission or license the material to you in some way.)
    • A blog and/or some articles or other resources.
      • Again, this should be your own intellectual property or something you have explicit permission to post.
      • If you start a blog, start with a post that is about something, not a post about how you intend to start blogging soon, or asking people for ideas what to blog about. Lots of blogs start that way, with a single post promising big things to come, and then nothing more ever.
      • You don’t have to blog on any particular schedule if you don’t want to, just post when you have something to say.

    Don’t include these

    • Lists of who you have played with, unless they are significant and career-defining.
      • As a graduate student I got to play at a university event honoring Dave Brubeck, including playing in an ensemble “with” him. For years my professional biography indicated that I had played with Dave Brubeck, even though after the one gig was over he almost certainly wouldn’t have remembered me, much less considered me some kind of collaborator. Listing him on my website was a pretty transparent inflation of the truth. (If he had hired me to join his quartet and go on the road for a few years, that would definitely be worth mentioning on my site.)
      • There have also been many less-famous names I have performed with, and why list those?
    • Lists of the equipment you use. One possible exception is if you have official endorsement deals that contractually require you to include this information. Otherwise, what is the list for? To prove how much money you have spent? To encourage others to blindly buy the same products as you?
    • “Links” lists, except in the rare case that your curation brings something valuable to the table. Lists of sites that you think are interesting or somehow related to your site are an artifact of earlier days of the web. Now if people want to find sites related to a topic, they just do a web search or follow related entities on social media.
    • Gratuitous photo albums, unless there’s a good reason to post them. Being attractive and/or vain isn’t a good reason, if you are hoping people will focus on what you have to offer musically. And you do need permission from the copyright holder.

    A simple website is part of the modern musician’s professional face—you need one the same way you need a phone number, an email address, and black clothes for the gig. You can start for a few dollars and finish in less than an hour, or spend years building it into a powerful communication outlet. Get started today!

  • Why musicians cost money

    I very much appreciate this brief article by trumpet player Jeff Purtle: Why Do Musicians Charge? [Edit: article no longer exists, but see the video in Mr. Purtle’s comment below.] Mr. Purtle makes the point that it costs a lot of money to be a musician. This is painfully true for woodwind doublers, who need not only a large number of high-quality instruments, but also reeds, maintenance and repairs, insurance, stands, cases, and more for each instrument, not to mention the cost of lessons or even college or conservatory study.

    I think the overhead costs of being an instrumentalist are a really important and valid point. But I do think are some more reasons why musicians should expect to be compensated fairly for what they do: Read More “Why musicians cost money”

  • Do I have to practice over the summer?

    As I send my students off to their summer plans, I know many of them are asking themselves the same question I used to ask: Do I have to practice?

    Your teacher might give you a summer assignment. I feel like I really can’t give my students official, enforceable assignments when they aren’t enrolled in my courses. I could possibly guilt them into summer practicing. Or I could threaten them with high fall-semester expectations.

    On the other hand, some of my students need full-time summer jobs so they can afford to continue their education in the fall. Some have responsibilities to their families. Some may genuinely need a little downtime for their mental health. (Any mental health concerns should be discussed with a qualified professional.)

    So, do you have to practice over the summer? I guess the answer is no for my students, since they won’t get grades, and since I prefer not to teach by guilt or threats. But it probably isn’t the right question. I think the questions to ask are:

    What kind of student and musician do I want to be? If you’re planning on a career in music, or otherwise have your sights set on being the best musician you can be, then maybe you already know how you should spend your “vacation.”

    What’s possible in my circumstances? You should move toward your goals each day if you can. But if bill-paying or illness or family life or other high-priority obligations get in the way, that’s not a personal failure. It’s life. It’s not a reason to feel guilty or incapable.

    Ask yourself what kind of student and musician you want to be, balance that against what your circumstances will permit, and make your best use of your summer months.

  • Stuff bad music teachers say

    We can all stand to improve our teaching. Here are some things I’ve either said or heard said that are symptomatic of gaps in pedagogical knowledge.

    “I’ve been doing it this way for years and I’m very successful.”

    Nobody is arguing with your success. But success isn’t a reason to stop improving, nor is it evidence of a perfect approach. Be open to new ideas. Choose to accept or reject a new approach based on its merits, not based on inertia.

    “My famous and well-respected teacher taught it to me this way.”

    The craft doesn’t progress if your let hero worship blind you to new ideas. Would your teachers want you to cling to outdated pedagogy out of loyalty, or to further your knowledge and advance the discipline?

    “Well, those scientific results don’t matter, because this is music and it can’t be studied in that way. I think musicians know a little more about music than scientists, don’t you?”

    Sound is a phenomenon very observable, measurable, and understandable through empirical study. Don’t worry, more information won’t ruin the magic. Take the example of high-level athletes and embrace careful, systematic scientific method as a means of achieving more.

    In woodwind teaching in particular, I hear a lot of vague, contradictory, or fantastical ideas that fall apart after even a cursory study of anatomy, acoustics, or fluid dynamics.

    And, just like you wouldn’t expect a stodgy old scientist to fully grasp the finer points of your musical performance, recognize your own limitations when it comes to scientific rigor. The Wikipedia article or a blog post you read probably aren’t very solid sources, and the experiment you did with different mouthpieces in your living room probably wouldn’t pass muster with a scholarly journal.

    “It’s not a contradiction.”

    If your teaching is making you and your students experience cognitive dissonance, getting defensive and brushing past the problem doesn’t help. Watch out for this kind of nonsense: “You have to increase the breath support as you go up to the high register. No, no, don’t reduce the breath support as you go back down to the low register.”

    “No, I haven’t read it.”

    Music teachers should be active readers of pedagogical materials new and old, and should be actively questioning what they read. (Attending masterclasses, watching videos, etc. is also good, but you will find someone’s clearest, most organized thinking when they have to commit it to paper and/or digital text.) Proliferation of small publishing companies, self-publishing operations, and, of course, the internet, have made the bar for “expertise” very low, but have also made it possible for conscientious readers to consume more and to police what is written. Readers shouldn’t take anything at face value, and authors shouldn’t expect a pass on low-quality work.

    Have the courage, conscience, and dedication to pursue deeper, broader, and more accurate knowledge of the concepts you are teaching!

  • Listing your woodwind doubles

    Here is a question I’ve gotten a few times recently: if you’re a woodwind doubler, and need to list your instruments, in what order do you list them? Here are some options:

    • Use a common “score” order, like: flute, oboe, clarinet, bassoon, saxophone. To musically-literate folks this may be the closest thing to a sort of neutral listing, giving no special preference or ranking to the instruments. (But it can of course be misinterpreted.)
    • Use a ranking, such as by which instruments you play best or prefer. If, like me, your ambition is to play your doubles equally well, and to be a hire-able professional on them all, then listing them this way may weaken that impression.
    • Do a hybrid of ranking and score order, such as listing a strongest/primary instrument first, and the rest in score order. That’s my preferred approach for general cases like on my website or business cards. For me, it’s: saxophone, flute, oboe, clarinet, bassoon. That highlights my strongest instrument (for now, at least), and also puts it out front for jazz, rock, and blues gigs, which make up a substantial part of my freelance career.
    • Tailor the list to the situation. If I’m submitting a brief biography for an appearance at, say, a clarinet conference, I’ll put the clarinet first. That hopefully helps people see me as a member of the group, rather than a visitor.
    • Randomize. For something like a website, it’s relatively simple with a little coding knowledge to use a different order every time, and help prevent yourself from being pigeonholed. You could also randomize photos of yourself holding or playing various instruments, or video or audio recordings. Here’s a simple example.

    To sum up, you’ll have to consider your skills and goals as a doubler, what kind of work you do or want to do, and to whom you’re presenting yourself.

3 Comments

  1. The worst are the ones who contact me at the university asking for students to do their wedding “for the experience.” I often wonder if the event is catered gratis by someone who needs ‘experience.’

    1. It’s ridiculous to offer experience instead of money, as if the other option was money but no experience. Experience comes from paying gigs, too, plus you get to pay your rent.

  2. Whenever I get asked to “play for exposure” my go-to response is “people die from exposure.”

    Seriously, though. For an event like a wedding, even a charity event, you’d be VERY hard pressed to find a venue, catering services, equipment rentals, and even cleaning staff that would volunteer. So asking/shaming skilled musicians to work for free out of the “love” for their craft is insulting at best.

    Great post!

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