TubeNet

Hi all,

I was inspired by a thread the other day to start this one - a thread where we can all share an anecdote or two that really taught us something about being a professional or "hirable". I've noticed that some of our colleagues who are just starting out in the industry have been posting questions, ideas or opinions that make me worried about their futures in a business that is near-impossible to break into without having made any mistakes whatsoever. The purpose of this thread is to instill just a little wisdom in a friendly and non-patronizing way by sharing experiences or even better - mistakes!

Let's see what we're willing to admit in order to warn those who are new to the business not to make the same errors!

Here's (one of) mine:

I was on a one-year contract with a busy quintet (2-5 services a week). I was replacing someone who got a teaching gig at a university but wasn't sure if she'd be back after a year or not. Thus the 1-year contract with option for renewal. They auditioned a handful of tubists but after a few trial rehearsals and an interview I was selected.

In retrospect, I feel I gave them a year of unprofessionalism. I'll tell you exactly why:

While I wasn't a horrible musician, I wasn't the most confidence-inducing ensemble member in the world either. Imagine dealing with a tubist who you knew to be a good musician and a reasonably likable guy and then as soon as he gets the gig, he invents a bunch of issues in his head regarding his instrument (I had just purchased a new F to play with the group and I hadn't acclimatized myself entirely with it before I started using it full-time. It was much easier to stand with though!).

My lack of confidence came out in tuning issues and paper-thin tone at times - both for the same reason. I was worrying constantly and so I limited how much input I gave in rehearsal and how much leadership I could offer when the music called for it. I became uncomfortable in a scenario (making music in a chamber group) to which I was normally very accustomed (I mean... I'd been doing it for 20 years!) but I was ashamed of my behavior and you can imagine - it was a downward spiral. My inability or unwillingness to refocus my attention on what was important lead to personality issues to which I admit to being a big contributor.

All because I thought about ANYTHING other than my duties as a musician and member of an ensemble/team. I worried about equipment when I should have worried about the sound I was producing and about my role in the ensemble etc...

Scenario: Nerves developed due to preoccupation with my equipment.
Outcome: Contract was not renewed and I do not play with the ensemble anymore.
Moral: It is a rare case where equipment is truly the issue.



Now, if any of you can add to this list (and I know all of us could), go for it!

I thank you for starting this up. I am one of those who is "new to the business", and will be finding myself out in the "real (music) world" soon. There is something to be said about learning from ones mistakes, but I would rather learn from someone else's . Seriously, though, I hope this thread is contributed to, and people learn from it...I know I'll be watching.

Any advice on keeping your performer chops up while being a band director would be greatly appreciated (i.e. did you have enough time to sleep?, etc...)

Quicksilvertuba wrote: Any advice on keeping your performer chops up while being a band director would be greatly appreciated (i.e. did you have enough time to sleep?, etc...)

This is really difficult, and at some times of the year, nearly impossible. My approach is to do about a 20 minute routine daily. I sometimes do this as late as midnight. I don't always feel like it. Sometimes I am really tired, but I am pretty dedicated to this routine. It includes long tones, lip slurs, tonguing, etc. In this manner, I am able to always have some chops. By adding in other musical activities, I am usually able to have 80-90 % of my chops, sometimes more.

To address the professional musician aspect, as someone responsible for contracting work when one of our regular members is out, I can speak to the following. The most important things to me are for the player to be on time, have the necessary equipment, and not get lost playing the music. It is only after meeting these things that the other musical details become important. I will admit this is a broad generalization, but it has truth as its basis.

To expand, I would rather have a real player on time, but not the very best player, than I would like to have a great player who is late. And, by the way, showing up at the last minute makes me worry a lot, so it is important to show up at the call time. If that becomes impossible, I expect to know about it at the call time. Interestingly, our quartet played at a festival a couple of years ago. I won't name the place. We were supposed to have a sub playing the second euph part(tuba/euph quartet). He never made it. We spent two hours trying to work around that problem. Unfortunately, it required a lot of shtick and careful use of our repetoire.

We have also used a sub in the past to play the bass part. This particular person(and Rick knows who I mean) could not possibly keep a steady beat. He tried to follow the ensemble. This absolutely did not work. We will never hire him again. And I mean NEVER!!!!

These are just a few random thoughts. I hope they are helpful.

...Words are just words, until they are written down in a contract.

We had verbal assurance of the continuance of our theme-park gig into the next season for months. We prepared a recording to sell in the gift shop with the encouragement of the bosses. We kept our chops up in the off-season with a range of other gigs. We kept in touch. We continued to expand our repertoire.

But when it came time to start the next season, the park went another direction. When we asked for a debriefing, we got attitude as though we were being ungrateful. Someone up the line had a different vision that didn't trickle down to our level at the appropriate time, and that vision came down unprofessionally and without regard to the people involved. That is common. In fact, without a contract, I have come to expect it.

Rick "finding government agencies the worst at putting business on a proper business footing" Denney

Never having played an instrument for $, really I have little to add. Having done quite a number of other things for $ (sometimes a lot of money), I don't think the importance of a professional attitude and carriage can be understated. Be on time, have your stuff, and be ready to contribute. Limit the false modesty, bravado, and jokiness. A clean shirt and a smile go a long way.

rocksanddirt wrote:Never having played an instrument for $, really I have little to add. Having done quite a number of other things for $ (sometimes a lot of money), I don't think the importance of a professional attitude and carriage can be understated. Be on time, have your stuff, and be ready to contribute. Limit the false modesty, bravado, and jokiness. A clean shirt and a smile go a long way.

VERY well said!

J.c.S.

I can't imagine how I'd add to that list, elephant. Young players take note - your career will ascend much faster if you do!

J.c.S.