What should be on your musician website

ByBret Pimentel

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!

Similar Posts

  • Interview: Woodwind road warrior Terry Halvorson

    ByBret Pimentel
    Terry Halvorson

    I’m always pleased to hear from other woodwind players. Terry Halvorson has been a contributor to my Broadway woodwind doubling list for several years, we’ve communicated periodically online, and we even bumped into each other in person at an IDRS conference a few years back. Terry has been working as a musician with touring musical theater productions for a while now, and I  was curious about life on the road. He was kind enough to take some time out of his schedule to answer a few questions.

    BP: What do you do for a living?

    TH: I am a woodwind doubler (oboe/English horn, flutes, clarinets, saxophones, recorders, whistles). I am currently 44 years old and have been performing musical theater since I was 14. I have been playing the Reed 2 book (oboe and English horn) with the national tour of Disney’s Beauty and the Beast since February 2010 and will be continuing, switching to the Reed 3 book (clarinet, bass clarinet, 2nd flute) from late September through May 2013.

    How did you get the job?

    I was called back in late 2005 by a musical director friend to play a reed book on the tour of Will Rogers Follies, but I had commitments at the time that I couldn’t get out of, so I had to turn it down. However the reed player who was hired gave notice four months into the eight-month contract and I was able to join the tour in the middle, replacing him (my first experience seeing a high D on flute!). Toward the end of this tour, we were in the New York City area when NETworks Presentations (my current company) was holding musician auditions, and I was able to attend; I received a call five weeks later asking me if I would like to play with the national tour of The Producers, and here I still am!

    What background (education, other experience, etc.) do you have that prepared you for this job?

    Wow, loaded question… well, I have been a major woodwind geek since high school (I arranged my favorite band piece for mixed clarinet sextet when I was 14 years old, and we won a command performance at our regional solo and ensemble festival); I also played oboe, clarinet and bassoon in my local youth symphony in various years. I was, of course, a music major (oboe and clarinet) in college as well, beginning as an education major but switching to performance. I freelanced a LOT, playing mostly reed books 2 and 3.

    What’s the best part of the job? What’s the worst part?

    Best parts are having a steady paycheck as a performing musician (how many people can say that?) and of course seeing and experiencing all the different places we play; I have played all fifty states and most Canadian provinces. The worst part is probably the lack of freedom to come and go and the strict adherence to a schedule.

    What’s it like being on the road? Read More “Interview: Woodwind road warrior Terry Halvorson”

  • Interview: Jay Mason, saxophone and woodwind artist

    ByBret Pimentel

    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
    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”

  • |

    Doubling fees under fire in Denver

    ByBret Pimentel
    oboe and English horn
    Photo, quack.a.duck

    The Colorado Symphony Orchestra, like so many others, is facing a financial crisis that threatens its ability to continue making music. An opinion piece in Sunday’s Denver Post criticizes the Denver Musicians’ Association (AFM Local 20-623) for its unwillingness to budge on certain elements of its agreement with the orchestra.

    The issues here are complex, and I hope that the DMA and the CSO will be able to come to a solution that is fair to all involved and that keeps the music alive. But this point in the authors’ list of complaints caught my eye:

    Musicians performing on more than one instrument receive “doubling pay.”

    I don’t have the full details of the doubling pay currently available to CSO members (though the amount doesn’t appear to be the issue here—it’s the fact that any doubling pay is offered that seems to offend). But a slightly-outdated agreement between the DMA and the Boulder Philharmonic, summarized below, shows a typical doubling pay structure, and it’s a reasonable guess that the CSO’s is identical or very similar:

    • 25% bonus for first double
    • 10% for each additional double
    • B-flat and A clarinets count as one instrument
    • Alto and tenor saxophones count as one instrument
    • Alto and bass clarinets count as one instrument
    • Piccolo, larger flutes, English horn, E-flat clarinet, contrabassoon, soprano saxophone, and saxophones larger than tenor each count as a double, even when used in common combinations (like flute plus piccolo)
    Though I am not currently a union member (due to a dearth of union gigs in my area), I frequently ask for doubling fees when negotiating my pay for gigs. Here’s why doubling fees make sense to me as a woodwind player: Read More “Doubling fees under fire in Denver”

  • 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”

  • |

    Teaching multiple instruments: IDRS 2016 presentation

    ByBret Pimentel

    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.

    Downloadable version

    Teaching Multiple Instruments

    Dr. Bret Pimentel, Delta State University

    IDRS Conference 2016, Columbus, Georgia

    More and more university music teaching positions require wearing several hats, sometimes including teaching multiple instruments. (Oboe plus bassoon is an especially common combination, even though it’s unusual for musicians to play both well.) Teaching multiple instruments is also a potentially valuable skill for instructors at lesson studios in private music schools or in music stores, for instructors in middle or high school band and orchestra programs, and for those establishing private studios from their homes.

    Getting hired

    • In many multiple-instrument hiring situations, the expectation is proficiency on one instrument and willingness to fake your way teaching the other(s). Any actual training or background on secondary instruments immediately sets you apart. Strongly consider taking at least a few lessons on a secondary instrument—this shows seriousness about the multiple-instrument thing, even if it doesn’t make you a virtuoso.
    • Having access to books (or websites) isn’t a substitute. Neither is “knowing a guy” who you can “ask questions.” Though those are usable resources, they aren’t convincing to hiring committees because they don’t demonstrate any actual effort prior to submitting your application.
    • Be honest but positive with yourself and with hiring committees about your ability and/or enthusiasm for teaching multiple instruments. For example:
      • “I play oboe professionally, but I am deeply committed to both instruments and am working to improve my bassoon skills. I have some experience playing bassoon in semi-professional settings.”
      • “Bassoon is really my thing, but I took oboe lessons for a couple of summers during graduate school and am enthusiastic about teaching the double reeds.”
      • “Teaching bassoon would be a brand new challenge for me, and one that I would take seriously.”

    Lesson time

    • You won’t have to fix all of your students’ technical issues on day one, but you will have to assign repertoire and studies right away. Spend some serious time browsing other teachers’ syllabi and “suggested repertoire” lists (many are available online!), and start compiling some lists of your own. Are you ready to recommend, for example:
      • some remedial etudes and an easy solo for an incoming freshman?
      • an hour’s worth of varied and challenging-but-doable repertoire for a junior entering a competition?
      • a solid program for a senior recital that can double as serious graduate school audition repertoire?
      • Baroque pieces?
      • pieces with extended techniques?
      • chamber pieces with strings?
      • concerti with concert band?
      • and so on…
    • You will, of course, have to address technical issues at some point. Be advised that your students know when you’re making things up. But it can be a great experience to spend a few minutes researching a question together, or calling a colleague or mentor on speakerphone for advice.
    • Both you and the student can learn a lot when you dare to get an instrument out and try some things together. Your students know it’s not your main instrument, and appreciate seeing you step out of your comfort zone. Consider giving them a chance to teach you something—teaching is a skill they should be learning anyway.

    Managing resources

    • Institutional resources like money, time, and space are often allocated per faculty member, not per instrument taught. As appropriate, consider making a case for the following (for example):
      • Funding for your oboe studio plus funding for your bassoon studio. Per-faculty funding can be unfair to students, who won’t benefit from purchases made for the other studio.
      • Additional prep time built into your schedule to accommodate the logistics of multiple studios.
      • Studio space and storage space suitable for several studios’ worth of instruments, sheet music, reed desks, etc.
    • If you are a single-instrumentalist teaching multiple instruments, consider forming partnerships with others in the same situation. Visit each other’s schools once or twice a year, maybe more often if the travel is short. Be each other’s consultants, guest artists, masterclass teachers, reed sources.
    • Consider which aspects of running a studio you can streamline to accommodate multiple instruments without multiplying your workload. For example:
      • Use your university’s LMS features, perhaps to combine all of your applied students into one “course,” instead of having to communicate separately to each instrument group.
      • If permissible and appropriate, rotate or combine things like studio classes and chamber group coachings.
      • Repurpose, say, oboe sight-reading excerpts as saxophone excerpts, or vice-versa. (Doesn’t work as well between oboe and bassoon. Clefs, you know.)

    Staying sharp (figuratively)

    • Join an organization. Attend conferences. Read the journal. Summer camps (that welcome or at least tolerate adults) are great, too.
      • For oboe-plus-bassoon teachers, IDRS is perfect! Be sure to attend recitals and masterclasses for your secondary teaching instrument, and familiarize yourself with equipment and repertoire options in the vendor exhibits.
    • Build your library of recordings, pedagogical materials, and experiences related to your secondary teaching instrument(s). If it suits your goals, budget toward buying or upgrading your secondary instruments and investing in your further education.
    • Be smart, informed, and conscientious about learning what pedagogical techniques, ideas, etc. you can share between instruments and what you can’t.
    • If you are at even an intermediate performing level on a secondary instrument, strongly consider playing it on your faculty recitals (one short, easy piece?). Keep yourself challenged to improve.
    • Shameless plug: Keep an eye on bretpimentel.com for blog posts and other resources related to playing and teaching multiple woodwind instruments, and the fundamental techniques that those instruments share.

    Long-term career planning

    • Is teaching multiple instruments an end goal for you, or just a way to get that first teaching job that will be a stepping stone to something that fits you better? Hint: either is okay, and it’s also okay to change your mind.
    • If you need to meet certain expectations for tenure, annual reviews, etc., be smart about how your multiple-instrument duties affect this. For example:
      • If leadership in professional organizations is important, you may need to attend your major instrument’s conference every year, instead of bouncing from conference to conference.
      • Understand student recruitment expectations—will you need to keep your studios balanced in a certain way, or is it acceptable if, say, recruiting for your main instrument is more successful?

  • Some useful phrases for gig calls

    ByBret Pimentel

    Here are some phrases that have been useful to me when somebody calls about a gig. When dealing with other professionals (or working through the musicians’ union) mostly these aren’t necessary—the caller should give the needed info unprompted. But many of the gigs in my rural area are one-offs for weddings or school or business events, and I’m dealing with callers who don’t regularly hire musicians.

    Let me call you back in five minutes.

    This has saved me many times. Sometimes I need a moment to think through the money/mileage/scheduling/etc., or to find a polite way to negotiate the terms or just turn the gig down. It’s fine to put the conversation on pause for a moment and prepare your response. (Or, depending on the caller, to pivot the conversation to text messaging, which gives you more time to formulate responses, plus a record of what was said).

    Who will be my contact person when I arrive?

    I use this one all the time with, for example, brides who are micromanaging the wedding planning (down to calling the saxophone player). If I arrive at the gig and need to know where to set up or collect my check, it’s going to be awkward for everybody if I have to bother the bride with business details On Her Special Day. If necessary, I gently suggest that she put a trusted friend in charge of answering the band’s questions and handing over their payment.

    Who is the musical director?

    This one is sort of a trick, because if it’s the kind of gig that actually has a musical director, then it’s less important that I know in advance (and, often, it’s the musical director who is offering the gig anyway).

    When I really need this one is when a well-meaning non-musician is trying to hire a band piecemeal (“Oh, my cousin is going to play guitar, and this guy I know from church is going to play drums, and my boss’s friend is a piano player…”). Asking this question gives me a chance to drop the hint that somebody needs to be in charge musically. In some cases, I’m able to segue into some friendly advice that they hire an existing professional group, or hire a professional to put together an ensemble.

    Just so I’m totally clear, are you offering me a paying gig, or is this more of a volunteer situation?

    I do still get calls asking me to donate my time. While I mostly turn those down, I don’t think it’s helpful to be nasty or condescending about it. Phrasing it this particular way gives the caller an easy multiple-choice question to answer without any waffling or weaseling. And when I turn them down, it seems less like I have refused a direct request, and more like I’m just passing up a chance to “volunteer.”

    Can I count on $XXX?

    Sometimes less-experienced hirers (such as someone hiring for a business or school event) have a budget range in mind, and (foolishly) tell me what that range is (“Well, we can pay between $AAA and $BBB”). The number they are hoping to pay is the smaller one, but I’ve made the mistake before of fixating on the larger one (and being disappointed later). Always nail down an exact fee. I try to get the top end of the range, of course, but make it worthwhile: “Can I count on $BBB? That way I can be sure to get a great keyboard player.” Or: “Can I count on $BBB? Then I can cancel some lessons that week and have time to look over the music in advance.”

    If they are hesitant to commit, you can say something like, “Okay, why don’t you call me back as soon as you have an answer, and we can firm things up?”

    Is that the base rate, or does that include travel/doubling/etc.?

    If the caller really is thinking in terms of base rates, then I probably won’t need to ask this question. But hirers who aren’t tuned in to this are probably counting on me to walk them through the process of hiring me. Asking this question gives me an opening to educate them that it’s appropriate to pay extra for travel time, or for bringing multiple instruments. (A quick web search for “afm wage scale” will give you at least a rough idea of what the union considers fair for doublers.)

    Do you have useful phone strategies for lining up gigs (large or small)? Please share in the comments section.

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