Freelance Trombone Playing Query

ttf_BGuttman
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Freelance Trombone Playing Query

Post by ttf_BGuttman »

The problem with weddings is that music is the last thing on the list of needs (after Photography).  Generally by the time they get to budget for music there isn't much money left.  So you'll get something like "can you play my 4-hour reception for $30.00 per man?"  Not to mention, it is now current to hire a Disk Jockey instead of a band for the wedding reception.  A DJ can cost as much as a live band.  A good DJ can have a tremendous variety of music to satisfy all tastes.  Try to find a gee-tar Rock Band that can play "In the Mood", or a Combo or Band that can play Led Zeppelin songs.  A good Wedding job should pay $35-50 per contact hour per man (which includes a 10 minute break every hour).

For a humorous (and surprisingly true!) look at the "soulless" side of gigging, check out:

http://www.lib.uchicago.edu/e/su/cja/hash.html

You can get one of two types of Wedding gigs.  One is a small ensemble for the ceremony.  This would usually be a brass quintet, but you are competing with flute/harp duos, string quartets, wind quintets, and even ensembles of saxophones or kazoos.  Generally you need to play for an hour or an hour and a half.  Play for seating guests, processional for the Wedding Party, recessional for Wedding Party, and for the guests to leave.  The people getting married may have a specific set of songs they want, or you can choose.  But don't play "Stars and Stripes Forever" for the service; it usually won't be well received.

The other gig is to play the reception.  Each couple (and their families) will have a particular music they want to hear.  We did one wedding where they wanted more and more Disco.  Another wanted wall-to-wall Latin.  Still another wanted a "retro" wedding playing 30s and 40s Swing Band stuff.  Of course there are certain songs that almost have to be in your library: "Daddy's Little Girl", "Sunrise, Sunset", something for cake cutting, something for introducing the bride and groom, something for first dance.  If the client wants something you can't play, you may have to learn it or lose the gig.  Also, you are playing for dancing; arrangements that alternate between genres won't fly -- ditch that cool arrangement of "In the Mood" as a Bossa/Funk alternation.  Also, when you take a solo don't go overboard; a Coltraine 30-chorus stream of notes will clear the dance floor.  A solo that is clearly recognizable for the melody flies much better.

Lots more to playing these kinds of gigs.

ttf_sabutin
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Freelance Trombone Playing Query

Post by ttf_sabutin »

I missed this thread.

Sorry.

Lots of good info here.

My own story?

I am the most "freelance" musician that I know in NYC. On any axe. Never took a Broadway show, never had a regular, day-in-day-out gig, including teaching. 40 years and counting.

My one, main rule? No matter how dumb the music, always play your instrument as if every note was important. Make every note mean something even if it only means something to you.

Main rule #2?

Do not do work that interferes with rule #1.

Now...implementng that second rule can be a very subjective and personal thing. I myself cannot stay even borderline sane on most B'way show gigs, and the club date scene makes me almost suicidal. A gig here, a gig there? Sure. Every week for months? No way.

Other really fine players find those kinds of gigs not so unpleasant, and still others crank their way through those scenes despite how unhappy they may be. Everyone has certain financial parameters that they must meet...family, etc...and people do what they think that they must do in order to survive. Long term, as far as I am concerned? If a gig hurts your playing, it's not worth doing.

And there's another thing about so-called "steady" gigs. (All of which end eventually, I might add.) So many players get all bound up in working for one or two or three regular contractors, never turning them down for fear that they will lose their place in the pecking order. But another approach is to work for so many people...on so many scenes...that no matter what happens, no matter what scenes and contractors/bandleaders come and go (And things are always changing. Bet on it.), you wll always be working for somebody. The spiderweb approach. Build a big enough web and there will always be gigs flying into it.

Other rules?

Always show up when and where you say that you will show up. In 40+ years I have blown maybe three calls total. Including free rehearsals. I blew a rehearsal last month, as a matter of fact. Got back from a long, exhausting tour and just spaced. But since I had never done that before in almost anyone's memory, the leader wasn't even mad. Almost blew a gig, too. Put it on the wrong day on my calendar. A friend's call and a quick drive saved that one. Luck helps. We're all human. But when I say "I'll be there," people can pretty well take it the bank.

Bring the right tool for the job and be warmed up and ready to play it, even if that means having to practice a relatively unfamiliar double for a week or more before a gig that is not very remunerative or even very interesting or musical. You're only as good as your last note. I will turn down a last-minute call no matter how well-paying it may be if I am not fairly sure that I am up to the task, and I almost never, ever leave the house w/out thoroughly warming up before a gig or rehearsal, even if it means going without enough sleep. While I am on that "right tool for the job" idea...treat every position in the ensemble as equal in importance. Don't slough off your practice or your attention because you are playing inner parts. Middle Fs are important, too.

Never say "No" to an offer unless you are going to be doing something else at the same time. Not the first time, anyway, even if it pays little or nothing. If it turns out that it sucks...simply make polite excuses ("Sorry...I'm already working that night," etc.) until they stop calling you.

Don't play sub games...double booking, sending in subs, etc. And if you must send in a sub, make sure that they play their butt off. There are some freelancers who only hire subs whose playing will not threaten their position on a gig. I think that this approach is counterproductive, myself. I consider myself a servant of the music...I really do, even dumb music...and if I'm not going to be playing it I sure as hell want someone good to be there in my place.

And...always keep your real musical goals at the forefront of your efforts. One of the reasons that I have been able to sustain a freelance career through so many years here is because I almost always take musical gigs over better-paying, not-so-musical ones if I can possibly do so. Gotta stay hungry; gotta stay alive musically. Everything else grows out of that.

And of course..have fun. A happy musician is a hired musician. That goes back to rule #2. If you are on gigs that overall make you unhappy...well, there you jolly well are, aren't you.

I wake up every day full of enthusiasm for whatever challenges will come my way. Win, lose or draw, it's a great life if you know how to live it.

An ongoing, lifelong adventure.

LX knows that. So do DG, Ben Griffin and several others on this thread.

Bet on that as well.

Have fun...we are.

Bet on it.

Later...

S.
ttf_ctingle
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Freelance Trombone Playing Query

Post by ttf_ctingle »

Go Sam!

Quote from: sabutin on Aug 02, 2010, 11:07PMI missed this thread.

Sorry.

Lots of good info here.

My own story?

I am the most "freelance" musician that I know in NYC. On any axe. Never took a Broadway show, never had a regular, day-in-day-out gig, including teaching. 40 years and counting.

My one, main rule? No matter how dumb the music, always play your instrument as if every note was important. Make every note mean something even if it only means something to you.

Main rule #2?

Do not do work that interferes with rule #1.

Now...implementng that second rule can be a very subjective and personal thing. I myself cannot stay even borderline sane on most B'way show gigs, and the club date scene makes me almost suicidal. A gig here, a gig there? Sure. Every week for months? No way.

Other really fine players find those kinds of gigs not so unpleasant, and still others crank their way through those scenes despite how unhappy they may be. Everyone has certain financial parameters that they must meet...family, etc...and people do what they think that they must do in order to survive. Long term, as far as I am concerned? If a gig hurts your playing, it's not worth doing.

And there's another thing about so-called "steady" gigs. (All of which end eventually, I might add.) So many players get all bound up in working for one or two or three regular contractors, never turning them down for fear that they will lose their place in the pecking order. But another approach is to work for so many people...on so many scenes...that no matter what happens, no matter what scenes and contractors/bandleaders come and go (And things are always changing. Bet on it.), you wll always be working for somebody. The spiderweb approach. Build a big enough web and there will always be gigs flying into it.

Other rules?

Always show up when and where you say that you will show up. In 40+ years I have blown maybe three calls total. Including free rehearsals. I blew a rehearsal last month, as a matter of fact. Got back from a long, exhausting tour and just spaced. But since I had never done that before in almost anyone's memory, the leader wasn't even mad. Almost blew a gig, too. Put it on the wrong day on my calendar. A friend's call and a quick drive saved that one. Luck helps. We're all human. But when I say "I'll be there," people can pretty well take it the bank.

Bring the right tool for the job and be warmed up and ready to play it, even if that means having to practice a relatively unfamiliar double for a week or more before a gig that is not very remunerative or even very interesting or musical. You're only as good as your last note. I will turn down a last-minute call no matter how well-paying it may be if I am not fairly sure that I am up to the task, and I almost never, ever leave the house w/out thoroughly warming up before a gig or rehearsal, even if it means going without enough sleep. While I am on that "right tool for the job" idea...treat every position in the ensemble as equal in importance. Don't slough off your practice or your attention because you are playing inner parts. Middle Fs are important, too.

Never say "No" to an offer unless you are going to be doing something else at the same time. Not the first time, anyway, even if it pays little or nothing. If it turns out that it sucks...simply make polite excuses ("Sorry...I'm already working that night," etc.) until they stop calling you.

Don't play sub games...double booking, sending in subs, etc. And if you must send in a sub, make sure that they play their butt off. There are some freelancers who only hire subs whose playing will not threaten their position on a gig. I think that his approach is counterproductive, myself. I consider myself a servant of the music...I really do, even dumb music...and if I'm not going to be playing it I sure as hell want someone good to be there in my place.

And...always keep your real musical goals at the forefront of your efforts. One of the reasons that I have been able to sustain a freelance career through so many years here is because I almost always take musical gigs over better-paying, not-so-musical ones if I can possibly do so. Gotta stay hungry; gotta stay alive musically. Everything else grows out of that.

And of course..have fun. A happy musician is a hired musician. That goes back to rule #2. If you are on gigs that overall make you unhappy...well, there you jolly well are, aren't you.

I wake up every day full of enthusiasm for whatever challenges will come my way. Win, lose or draw, it's a great life if you know how to live it.

An ongoing, lifelong adventure.

LX knows that. So do DG, Ben Griffin and several others on this thread.

Bet on that as well.

Have fun...we are.

Later...

S.

ttf_LX
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Joined: Sat Mar 31, 2018 12:01 pm

Freelance Trombone Playing Query

Post by ttf_LX »

Great stuff, Sam. Thanks for chiming in!! Many words of well-practiced wisdom there, for sure!! And you are right...."an on-going lifelong adventure" INDEED!!!

LX

ttf_savio
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Freelance Trombone Playing Query

Post by ttf_savio »

This is very interesting reading even for people that are not in the freelance situation or in a pro environment of playing. When I was studying and also got some into the pro scene with some interesting gigs here and there, I did a lot wrong. Playing skills are just a little part of the hole picture and not enough. Important and necessary, yes,  but there are many other factors that is well as important. Like Sam told about to meet up at right time.  I did experience that factors like human behaviour, be trusted and have your own day and life in shape is as important than playing skills.  So you have to keep your day/diary in system, you have to be stable and you have to be friendly and make contacts around you. This have to be understood very fast in any career  before its to late.

Today I see around its very tough to be in this situation. With family, children you cant take that many chances. You need a minimum of income to keep you and family over water. And also make them all they need to live decent. If you are alone its a bit different. I see many excellent players that have to do other work to keep all together. Do gigs that are not on their level and so on. 

I believe you need that approach like Sam told.  Give every note a meaning no matter where or with what players. I play a lot with amateurs and I try to blend in, play my note as consentrated I can, try to make my role as a part of it, and try to help the hole musical  result.  I never say so much. I just try to keep my playing to support and blend. That's in it self a big challenge and it makes my own playing interesting. No matter where I play.

Today I feel that if I only have the opportunity to play, I'm happy.  I don't care so much for level, what kind of music or where I play. Just play and do it with my soul. Then it gives a meaning and its fun. Im fare a way from the pro scene the people above lives in but still its interesting for me.

Leif
ttf_johntarr
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Freelance Trombone Playing Query

Post by ttf_johntarr »

This has been a most interesting and very thought provoking thread for me.

I would like to offer another perspective to the idea of doing gigs that might be considered sub par. After and during school (B.M. & M.M.), I managed to make it as a freelancer in San Francisco, not first tier but made a living and had some interesting playing opportunities. I used to ***** and moan to myself on those gigs that were bad and I was playing, "just for the money." I had much to learn back then, as I do now.

Eventually, I became weary of the driving and also realized that trying to get a steady orchestra gig was not what I really wanted. I went on to study the Feldenkrais Method and developed a strong practice after moving to Switzerland. I did some gigs when I first came and then when I began earning enough from the practice, stopped freelancing. I kept playing albeit not as intensely, as well as teaching privately.

One thing I did was join the trombone choir to keep some ensemble playing going. The group is made up of amateurs and wasn't very satisfying. Now that I've decided to get back into serious playing, I'm still in the choir. It's still not very good but I've found that when I'm really present and playing well, the group gets better. Additionally, no matter what's going on around me, I can still try to play as musically as possible and learn something about music from the 1400's to present.  I test out my ideas for movement lessons for brass players in the group and soon I hope to publish somatic awareness lessons for trombonists in hope of helping many others like yourselves feel and play better. I also got a 1 year teaching job here in the music school because of my work in the bone choir.

And then, there are those rare moments when every one gets linked in and plays better than they normally do. Mind you it's still not great but when the intonation and musicality settle in, it feels like the sun has arisen on a spring day, and everybody smiles.

The brief version of this is: my experience is what I make of it.

Thanks to all of you for contributing your experience to help me shape mine for the better!

John
ttf_griffinben
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Freelance Trombone Playing Query

Post by ttf_griffinben »

I just got in from a club date (wedding reception) and saw your reply, John.  It reminded me of an experience I had many years ago.

I was doing a dixieland band gig with a throw together band at a local fair.  It was a fun group, good musicians, and we had a blast playing and hanging out.  I was scheduled later that evening to play at the fair with a different band; one of those warhorse-local bands that play like **** and are a real drag, but seem to always be working (yay, suburbia). 

Anyway, I was B******g and moaning about having to play with this band and the guitar/banjo player stopped me cold.  He's a real cat, and has been through some serious stop if in his life.  He said to me: "Of course it's going to be miserable, you've already decided that it's going to be."  This stunned me and he said after that "Just decide that you're going to have a good time and you will."

Well, of course I wound up having a good time.  I found things I liked, or that were challenges to me.  I got along better with everyone in the band.  I sounded better.  I keep this with me often when I'm not enjoying a gig.  There's lots of reasons not to enjoy regular working gigs; quality of music, players, bread, leaders, clients, etc.  But I can put on the good face for one night and usually wind up having a good time. 

I had a good time tonight at my club date; because we made it fun.  It's a good enough group of guys that we enjoy what's going, even if we're making up lines to Lady Gaga.  We make up challenging lines, push each other musically and technically, laugh and joke...its a good group of human beings.  We get guys that sub on the band that have the sour puss before they even show up...they never have fun.  Then others are seduced by the infectious spirit of insanity.  But WE make the insanity, WE create the environment.

Now, none of us are any false delusions about the quality of the compositions that we are covering.  But OUR product (as a horn line, at least) is very good, and WE create an environment that is enjoyable too.

Our perceptions and preconceptions will make a difference to our survival.

-Ben
ttf_fluor
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Freelance Trombone Playing Query

Post by ttf_fluor »

Yeah, playing classical trombone is often a background voice (jazz too I guess). Often I sit there playing long notes and harmonic pads.

I can't remember who said it to me, but he or she said: You have to find a meaning behind the notes. WHen I get bored while playing, I often think why am I playing this, what is my role etc... And I challenge myself in that way.


I read an article once, I think it was in the norwegian musician organisation's magazine, that so many norwegian arrangers (and also some composers) are trombonists... And one of them, who was interviewed said in all seriousness that he believed it was because trombonists had the most boring parts, so they start to listen to the music, isntrumentation, layers and to the other parts and how the music works, than to their own part!
ttf_BMadsen
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Freelance Trombone Playing Query

Post by ttf_BMadsen »

I used to have that - I subbed a lot of wedding bands about 7 years ago before 2 (yes, 2) band leaders died of heart attacks within a couple of months of each other.  Image I hated doing the work at the time, but it was my part time job getting me through school. They constituted 90% of my good paying work, and I was stuck. I thought, since playing weddings wasn't what I wanted at the time, I thought I would be happy teaching and playing part time. 6 years later (after finishing my degree at the New School, getting certified in a year long program and teaching 5 years), I was miserable, playing a few gigs a month and dreading waking up every day. I resigned from teaching, and began pursing the freelance career again. Now, I'm playing weddings and corporate events again, but I find that I enjoy them so much more. I'm thankful every day that I get to make a living putting my lips to my horn.

I guess that since I have the experience of doing the day job (in addition to teaching, I have worked in offices as a temp), I realized that the day jobbing life is not for me, at least right now. Who knows who I will be and what I will want in 5 more years? But, I'm far more satisfied now, loving every gig I get (from Chinese funerals to corporate events, and some weird stuff in between, in addition to the "normal" big band work), and wake up every morning excited for what the day will bring. I'm about to warm up for a Chinese funeral, then I will be going to a training session for an after-school program I'll be teaching, and who knows what tonight? Practicing, probably. I haven't had a dull day since my last day of teaching 3 months ago.
ttf_anonymous
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Freelance Trombone Playing Query

Post by ttf_anonymous »

This is a truly wonderful thread. It's giving me a lot of information to take in about freelancing in the industry. I've got some personality changes I need to undergo before I graduate! Luckily, I have time.
ttf_SandyMBarrows
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Freelance Trombone Playing Query

Post by ttf_SandyMBarrows »

Well, my "freelancing" landed me right in the middle of playing with some really fine artists (like former UNT 1 O'Clock Lab Band trombonist).....and some other musicians who are recording artists.

Yes, I will be joining this church because of the quality of music, but also, it has inspired me to become a better musician. Pay is up in the air (non-existent).....fortunately, I have a retirement that is providing a stable income until 2015, as an airline pilot (if that doesn't go bust); hence...my point....

Freelancing is a gamble.....you better have the right connections in the union, if you want paying gigs. Period. Plus, you need to supplement your income with something reliable, like LOCKSMITHING! Be smart. These times are hard on musicians that seek a living strickly as thus. And even those who are making a living at it will tell you......get a job that will guarantee a living for you when the "music died". Unfortunately, it will probably get more dicey before it gets better!
ttf_anonymous
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Freelance Trombone Playing Query

Post by ttf_anonymous »

A great thread to read especially for tose coming out of college/graduate school. Lots of great info from pros that have been doing freelancing for years.

Thanks for the wisdom and advice.


ttf_anonymous
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Freelance Trombone Playing Query

Post by ttf_anonymous »

Such great comments, I would like to use some of them as part of my section on professionalism on my site at: http://ericburger.org/pro.htm

I would love to hear any additions you all may have to my list, or at least share some of that that has helped me keep playing over the years. Below is the text from my site.

It is possible to have a very successful career in music, and not be the best player around. It is also  possible to be the best, and to never get called for gigs. I have often worked far more than guys much better than me, and I know it is because of my professional attitude and behavior that has made the difference. If you want to be a success, follow these 10 rules and could also happen for you!

1.  Be Early. Not just when it is convenient - but every time. No matter what the traffic is like, no matter what happened the night before or what’s going on with your car. And if you might not be early, let the contractor / director / band leader know as soon as possible. Without excuses. If you are always early, and then end up being late once, you will be forgiven. If you are just on time or occasionally late, you will need to find a new job.

2.  Be in the Correct Uniform. Your clothing should be clean and pressed and appropriate for the gig. If you do not know what the attire is, ask. If there is no way of knowing, bring a few possibilities. Don’t travel in your performance clothing. Always try to look like a professional (yes, this includes rockers…), and always better to look a little too good than to be the slob on stage.

3.  Be Prepared. Make sure your instrument is in good repair, and have extra reeds / mouthpieces / strings, even if you do not need it. Always have all the mutes, cables, stands or anything else that you could use. Have a microphone, a tuner, a metronome, or anything else you use for you instrument.  Bring doubles or alternate horns when it might be needed and on every recording gig.

4.  Be Ready. Know your music. Really know it. Spend more time than you need. If you are a singer, know your words. Make sure your chops are up to the task. Know what you are playing for, and who will be the audience. Check up on the contractor / director / band leader get to know them.  Be rested, sober and have a good attitude.

5.  Be Helpful. Help load in other people’s equipment (drums, PA, amps). Help make sure the stage is ready. See what you can do for the contractor / director / band leader to make the gig go smoother. And, most importantly, don’t be a bother or get in the way if your help isn’t needed.

6.   Be Excited. You are playing for money – what could ever be better than that? Be happy about the stage, the food, the drinks (or lack there of), the audience, and the rest of the band. Like it so much that if you have to play overtime, you will do it just for being asked (let the contractor work out overtime pay). Never complain to the staff of the site you are playing at.

7.  Be Grateful. Make sure the contractor / director / band leader know that you are very pleased to have gotten the call (doesn’t matter if you are not), and how much you would enjoy another call anytime. This is very important.  Even if you would never play with the group again, do not tell them – just be booked already when they call. You will never know how often the best gigs come from people you wouldn’t work for on a good referral. Always be pleased to meet everyone, and say goodbye with nice comments to all when you leave. Give out your card freely, and take other in return.

8.  Be Willing. Many successful careers started when musicians where willing to play for little or no money to get a foot in the door. Play gigs outside your comfort zone. Take chances. Sing if you are asked (even if you suck – let them decide).  Perform your heart out. Dance (if appropriate).

9.  Be Joyous. Love everyone in the band, and they will love you back. Love the audience, and they will also love you. Be the nicest person in the room. Laugh at the stupid jokes. Never talk bad about anyone there or in any other group. Have fun.

10.  Be Responsible. Stay sober. Do not trash the place. Pack up your gear right away, and then help anyone else who may need help. Pay for any food or drink as required. If you need to get a sub, find someone much better than you, and pay them out of your pocket if necessary to make up their price. Leave with the last people, and double check the stage or dressing room for other peoples stuff.
ttf_RidingTheElkhart
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Freelance Trombone Playing Query

Post by ttf_RidingTheElkhart »

Thanks for the post, its great
ttf_anonymous
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Post by ttf_anonymous »

Great advice. Thanks!
ttf_anonymous
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Freelance Trombone Playing Query

Post by ttf_anonymous »

Great advice. Thanks!
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