Thoughts on musicians’ websites

ByBret Pimentel

I first set up a personal website in about 2000 or 2001. There wasn’t much reason for me to do so—I was a college undergraduate, with virtually no worthwhile content to share. But it was a start, and fifteen or sixteen years later I have a few hundred blog posts and some other resources, plus a few college degrees and a university teaching position to perhaps bolster my reputation, and I enjoy a modest flow of web traffic. For what it’s worth, here are a few thoughts on websites for individual working (or aspiring) musicians, particularly those in non-“pop” genres and whose reputations exist primarily regionally or within specialized circles (such as academia).

photo, Markus Tacker
photo, Markus Tacker

“Home” page: Put some content here. Why have a “landing” page that is nothing but a menu/obstacle to the meat of your site? Put your professional biography here, or maybe a recent blog post (the actual text, I mean, not just links to blog posts).

Biography: Ask yourself, are your site visitors really interested in your life story? (“Bret Pimentel started playing the saxophone at the tender age of ten…”) Keep it simple, professional, and brief. Let people know what you do.

For “who I have played with” lists, I suggest keeping it to 10 or 12 entries, tops. When you play with someone famous/interesting enough to add to your list, drop someone else.

Résumé/vita: Potential employers (for gigs, teaching positions, etc.) aren’t harvesting résumés from websites. Your short bio is probably enough. If you insist on posting your résumé or curriculum vita, strongly consider posting it as a web page, not as a PDF or word processing document. (As a general rule, use a word processing document—preferably an “open” format—if people will want to download and edit it, a PDF if they will want to save or print it without editing, and a web page if they will just want to read it online.) And I suggest removing your address and phone number for safety and privacy.

Blog entries: Not everybody needs or wants a blog, and that’s okay. But if you are hoping to use your website to build an online audience, it helps to have an avenue for publishing new stuff. (Nobody is coming back to read and re-read your bio.) I strongly suggest real blog software (such as WordPress, or a link to a WordPress.com or Blogger.com hosted blog), rather than just typing new entries into a plain web page. That way you can benefit from built-in syndication feeds and other technologies that make it easy for people to find and follow your content in their favorite apps, leave comments, etc.

It’s okay to post only occasionally. Many, many of the musicians’ blogs I follow consist of annual apologies for not posting lately and promises of great stuff coming soon, and nothing more. Just post if you have something to post.

Even if you are planning mostly to use social media sites to connect professionally, bear in mind that those can come and go quickly, and it’s nice to have a home base for your content where it will remain under your control. By all means, post your new web content to the social networks you use yourself, as those connections are the ones most likely to reshare and amplify your content.

Articles/resources: For content that you intend to update or improve over time, it probably makes sense to publish it as a “static” page rather than a blog post. If you are old enough to remember these things, you might consider a blog post to be like a newspaper article, which you probably read once and then look for fresh content the next day, while “resources” are more like phone books, which you refer to on an ongoing basis and which get replaced by newer editions.

Audio/video: I think it makes sense to host these elsewhere (YouTube, SoundCloud, etc.) and link or embed them on your site, since putting them in places where people are already looking for music and video gets them to a larger audience and boosts their search engine juice. They should never play automatically—only when your site visitor intentionally starts them.

Photos: I used to have a photo gallery on my site, but I have removed it. Ask yourself: are you famous or interesting enough (yet) that people are going to have an interest in seeing your career’s visual history? Are you hoping they will be impressed by something related to your physical appearance? Consider using one or two photos on your bio page, and put the rest on Facebook for your friends and relatives to enjoy.

Equipment: I am on record as believing that listing what brands and models you play is useless at best.

(Also, if you have endorsement deals you want to brag about, remember that the correct wording is that you endorse the brand, not that the brand endorses you.)

Contact info: Contact forms are kind of a pain. I suggest providing a real email address so that people can communicate with you using the software or webmail of their choice. Worried about spam? Use a free webmail account with powerful spam filtering.

Social links: You don’t have to link to all the social media sites, just the ones you use and see as good places to connect with internet strangers.

Instructions on how to use a website: If your website includes instructions on how to use your website, either your website is poorly designed or you are talking down to your visitors.

In general, look at each page of your website and ask, is this here because it is potentially of use or interest to my site visitors, or is it only interesting to me? Would I read this content on someone else’s site?

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  • Interview: Stefanie Harger Gardner, clarinetist and #clarequality activist

    ByBret Pimentel

    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?

  • |

    Does woodwind doubling prevent you from being the “best?”

    ByBret Pimentel

    My recent post about woodwind doubling has been cited lately on various social media sites to fuel discussions over whether doubling is a good or acceptable pursuit.

    Many of those arguing that woodwind doubling is a bad idea raise the issue that the “best” players of such-and-such instrument don’t double, and you can’t be the “best” at such-and-such instrument if you are doubling. If you think that, I could name a dozen prominent doublers who might change your mind, but that’s not really the important point.

    As an undergraduate saxophone major, I daydreamed occasionally about being the “best” saxophonist. For me it probably wouldn’t have been a realistic goal, and the pursuit of it wouldn’t have led me to happiness, nor to success as I would have seen it through that lens.

    When I made the decision to commit myself to woodwind doubling as a career path instead, I knew that would mean my progress on the saxophone would slow down. But it has been a very worthwhile choice for me: I get to play interesting music in a variety of settings, I get to spend all day at my university teaching job talking about the music and instruments that fascinate me, and I even have an audience of like-minded folks who stop by to read my blog posts. Now it’s hard for me to imagine myself being content to play just saxophone music all day.

    Most of us won’t land a top orchestral job or tour the world as a concert soloist. And, believe it or not, not all of us want that anyway. We should be encouraging aspiring musicians to seek out niches that they enjoy and are motivated by.

    Very, very few of us will ever be the “best,” so if that is your goal then I wish you luck. But for many of us, myself included, that’s not the goal at all. Mine is to have a successful and enjoyable career doing what I love, and so far, so good.

  • Endorsement deals

    ByBret Pimentel

    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”

  • Interview: flutist Tammy Evans Yonce

    ByBret Pimentel

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

    Flutist Tammy Evans Yonce is an active recitalist, writer, clinician, speaker, contributor to various conferences and professional organizations, and professor at South Dakota State University (plus: she is my former classmate). Her thoughtful blog is a favorite of mine and my regular readers will recall that I have featured her posts on a number of occasions. Her debut CD will be released earlier next year—keep an eye on her website and Twitter for details.

    I am always particularly amazed by her brutally busy performance schedule, and she kindly agreed to let me pick her brain about it.

    How often do you perform?

    I do an annual fall tour, which includes multiple performances and masterclasses. This year it was to Virginia, North Carolina, and Tennessee. Sometimes I choose these places because it’s a geographical area I want to explore or because I have friends and collaborators there. This year’s tour included collaborations with some really fantastic friends. I’ve been able to perform in 24 states so far, so that’s been fun.

    I always give one on-campus recital each year but also frequently collaborate with colleagues on theirs.

    Other performances include festivals, conventions, and such. I like giving 15–20 performances per year.

    How do you maintain such a busy performance schedule, on top of teaching full time, having a family, etc.?

    It mainly comes down to organization and clearly defined goals. And making consistent progress every day. I work in big six-month chunks, where I have goals listed in a variety of categories (performance, writing, recording, commissions, etc.). Those goals help me organize my day-to-day decisions, and they also allow me to stretch beyond what I think I’m capable of.

    I have some general long-term goals but I think the nature of my work (music + academia) means that I can’t anticipate all opportunities that might arise, so I try not to be too rigid about those long-term plans. My upcoming fellowship to Israel came out of left field, for example, so I try to keep my eyes open.

    I also have a really supportive husband who carries his share (plus some, probably) at home so I have some flexibility.

    How does your performance schedule affect you? What benefits or drawbacks are there to a busy performance calendar?

    I enjoy travel and find it invigorating. It helps me to break up my schedule, see new people and places, and be in a different environment, and it certainly helps my teaching. I enjoy collaborating with friends.

    Performing frequently has effectively eliminated performance anxiety for me. There’s just not time to be nervous and I have a lot of hours banked actually on the stage. I’ve “practiced” performing so much that I can stay in the moment. Since creation and analysis are completely different processes, if I can stay in the moment I’m not worried about analyzing my performance as it happens.

    Being busy might be considered a drawback for some but I feel like the things I do are a worthwhile use of my time. I don’t do things just to have something to do.

    How do you maintain balance in your career and life?

    I have a couple of trusted people who understand me and my goals that I check in with regularly. We make sure that we’re staying on track. Also, I don’t check work email after 5pm or on the weekends.

    Do you have any self-care or stress-reduction practices?

    I get regular massages. I used to see this as a luxurious indulgence but being a musician does take a physical toll. I like good food, I travel as much as I can, and I try to work with my friends whenever possible. Finally, I read a lot. I read at least 25 books a year.

    You frequently commission new works. How do you connect with and select composers?

    Sometimes I’m approached by composers who hear me play and have an idea of something they’d like to write. Other times there are composers I know I’d love to work with, and I approach them. Most of these connections happen either online (Twitter, usually) or at conferences and festivals. Even if I haven’t met a composer, it’s likely that I’ve seen them around online or have mutual friends, so there’s usually a connection.

    Generally I work with the composer during the compositional process. We meet via Skype or FaceTime so I can try out their ideas or they send sketches as the piece progresses, so I have a good idea of what the piece is before it’s done. The composers I work with want things to work, so if something is awkward or impractical, we find a solution.

    You have done some performing and commissioning with the Glissando Headjoint. How does this play into your career? Is it bringing you opportunities that you wouldn’t have otherwise? Does it cause you to be pigeonholed?

    The Glissando Headjoint has been a lot of fun. I don’t think it has helped or hindered me. I see it as another item in the toolkit I can use to get the musical message across. Since there isn’t much repertoire for it, it has been fascinating to see how composers use it. They are really drawing from their own creativity instead of basing their musical decisions on existing repertoire.

    When programming, how do you balance new repertoire with previously-performed works?

    Big considerations are the audience, the logistics of the performing venue, and whether or not I have collaborators available.

    My recitals have taken a big turn lately and are much more logistically complex. Last month’s recital featured dancers, lines of poetry projected in real time, a lithograph displayed during one piece, multiple collaborators, and a variety of equipment changes. While it was complex, I think it was effective.

    I’m already planning next year’s recital, which will involve literature, readings, photographs and other visual art, and several new commissions. Once I get the plans in place, I’ll put more info on my website. I like the impact of a cohesive recital that involves more than just the ears.

    Do you have any favorite flute-playing tips?

    Practice. You can’t go wrong with lots of etudes and Taffanel and Gaubert.

    Thanks, Tammy, for taking the time to answer some questions! Find her at:

  • |

    Persistence

    ByBret Pimentel

    A famous big-shot clarinet professor told me once that I would never really be a clarinetist.

    He was quite possibly correct.

    But for now I’m still at it.

  • Q&A: Personal reflections

    ByBret Pimentel

    A couple of weeks ago I put out a call for questions, in honor of today being the fifteenth anniversary of this blog. A few of the questions asked about my own career and approaches to various things. I’ll try to answer the best I can.

    One reader asked about music education and work/life balance. This person completed a degree in music education but found there was pressure to make teaching a “lifestyle” rather than just a 9-to-5 kind of job.

    To be clear, my degrees are in performance, not music education, though I make my living as an educator at the university level. But most of my students are music education majors, and on the track to become public school band directors. Some of my former students have really embraced that career, have excelled in it, and have wrestled with the work/life balance aspects to various results. Others have burned out quickly and moved on to other career options. I do think sometimes there’s a sort of cult around music as a career—the rueful but revealing jokes about college music majors “living” in the practice rooms, or about high school band directors kissing their families goodbye until after marching band season. It’s a complex and very individual calculus whether passion, time investment, family and other “life” demands, finances, and identity balance in the right ways to make those careers worthwhile. It’s also a moving target: after 14 years and a couple of promotions in my university position, the demands on my time and energy have shifted, and my approach to the job has adapted to make it more sustainable for me and my specific needs.

    A related question came from another reader: am I happy with the balance of teaching and performing in my life, and do I have plans to adjust that?

    As a full-time university music professor, a certain quantity of teaching (and to some extent performance) is non-negotiable. And I live in a rural and relatively remote area, so pre-made freelance performance opportunities are somewhat limited. But there are some choices I have made to adjust my balance. I don’t teach summer classes, so I’ve got a few months each year to do some relaxing/recovery and some concentrated work on projects that are important to me, like preparing recitals, working on online content and tools, and writing. A few years ago I cut loose my private students outside of my university responsibilities, in order to focus on finishing a book and further developing some online projects. I’m fortunate that the book and online things have more than replaced the income from those additional students, and let me have a little more variety in my days. Plus, I get to refer lesson inquiries to my college students, who are usually anxious for the experience and the reed money.

    A longtime woodwind player asked what I do to “keep things fresh.”

    I can respond with some of the things I’ve done, but of course these are specific to my interests and circumstances. I continue to pursue interests in world/folk instruments, and the Zoom era has opened up some possibilities for connecting and studying with expert players around the world. I’m also having fun with combining woodwind instruments with electronics. My university job gives me a venue and audience to do new and/or familiar things on stage, in annual faculty recitals. This blog and my other web-based projects combine my interest in music and woodwinds with my interest in software and coding. I’ve released the one book, and am in the process of writing another. And of course I’m always on the lookout for new etudes, exercises, and repertoire for me and for my students.

    Thanks for the thoughtful questions!

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