mercenary musicianship (Is this a "rant" or just a "post"?)

[GC]

Wasn't he in Robin Hood: Men in Tights?

[opus37]

I'm one of those "free" people. I play in 3 community bands and 2 brass quintets. One of the bands plays for assisted living homes and I consider that a service to the community.

I played for groups like that in Baltimore, and always thought it was very rewarding because the audience enjoyed it so much. Hope to do that again out here too, eventually.

Any time you want to play, let me know. I have two bands that could use your talent.

[Donn]

My argument was that a professional should be someone who advances the art itself. As a professional tubist, amongst other things, that would be commissioning new works, techniques or instruments.
A mercenary is just someone who gets paid to play and no more.

mer·ce·nar·y
ˈmərsəˌnerē/
adjective
derogatory adjective: mercenary

1.
(of a person or their behavior) primarily concerned with making money at the expense of ethics.
"she's nothing but a mercenary little gold digger"
synonyms: money-oriented, grasping, greedy, acquisitive, avaricious, covetous, bribable, venal, materialistic; informal money-grubbing
"mercenary self-interest"

Some people do not see "mercenary" as a derogatory term, but a great many people do. It's often used in an insulting manner, and I've found that the most irritating offenders are church people or theater people who resent bringing in hired musicians.

That isn't a terrible definition, but its brevity leaves it at a kind of superficial analysis.

Since the core meaning is someone who harms people for monetary reward, instead of the patriotic fervor that we normally look for, it carries a lot of baggage that doesn't honestly apply in other situations where it might be used. But it's just a word.

[Biggs]

a lot of really great stuff but most importantly:

- I REALLY ENJOY playing music.
- I REALLY ENJOY having others express their appreciation to me for playing music for them - appreciation in the form of payment.

I have no doubt that I am much worse at playing the tuba than you and, in my good years, probably generate only 5% of the tuba-income you generate in your lean years BUT: I couldn't possibly agree any more closely with your approach or espouse it any more zealously.

My question: what was it about the having-to-stay-on-the-platform-through-both-services decision that made you walk away? I ask because, even given the low pay, I would have stayed with it on the basis that a) I didn't have to generate any additional sounds and thus didn't have to prepare any additional sounds; b) I probably didn't have another church willing to pay me more lined up and c) I'm very good at sitting in church [many, many musicians I have played with cannot claim the same, and it has nothing to do with beliefs and everything to do with manners].

If you walked away because you had a more profitable engagement, then I completely understand and am jealous that you are in much higher demand than I. However, if there was something else, then you've piqued my curiosity.

[GC]

The adjective form has its connotations because of widespread attitudes toward the noun. The definition I posted was the first one up on a Google search. It's fairly consistent with definitions from other sources.

[Donn]

If I had to reckon up how much I would take to do that gig, it would have to be enough that I would never have to think about doing it again (so it wouldn't matter whether I can actually play the tuba.)

[Rick Denney]

I make it a point to respect the decisions of professional musicians to only play for reasonable pay.

I hope they make it a point to respect my decision to play without the commercial obligation. Yet I've heard many times that my willingness to play for free is keeping them from getting work. I'm willing to do a lot of things for free, and I'll bet most musicians have hobbies they do for free, too, and sometimes for others. But I doubt anyone that I play for would have considered paying a professional group as an alternative.

I have certainly played for pay in the past, and probably will again. But the conditions for doing so are about as strict as Bloke's conditions for playing for free. It would never happen at the church I attend myself. Even if they demanded to pay me, I would refuse it. For some things, I just don't want a commercial relationship, and I hope professional musicians would respect that, too.

When you do something so enjoyable and satisfying that people are willing to do it for free, you have to expect competition from those willing to do it for free.

Rick "who never asks pros to work for free--ever" Denney

[Merodach]

a bit too jaded by earthbound carnival barkers to be involved in corporate religion

^ +1

[roweenie]

Bloke, right on the money (no pun intended).

In fact , one of the main reasons why I abandoned playing for money full time was exactly this; I got sick and tired of having to take every crappy gig that was offered to me, because if I didn't, the mortgage didn't get paid, and the kids didn't get new shoes.

Also, quite frankly, I got tired of being required to schlep my equipment through the kitchen, so as to not "offend" the patrons (anyone who has "been there" will know what I'm talking about).

[Three Valves]

Also, quite frankly, I got tired of being required to schlep my equipment through the kitchen, so as to not "offend" the patrons (anyone who has "been there" will know what I'm talking about).

No, I wouldn't know...

https://www.youtube.com/watch?v=3Sr-vxVaY_M" target="_blank

[joebob]

As far as I'm concerned going "through the kitchen" is often a bonus so that I don't have to interact with the patrons.

[windshieldbug]

The orchestra's "symphony league" had a luncheon (for themselves and the concert attendees) afterward, and the orchestra musicians were sent upstairs - to some sort of meeting room - where there were 2-liters of Coke, plastic cups, some loaves of white bread, some containers of pimento cheese spread, some paper plates, some plastic wear, and some napkins.

bloke " 'Nothing at all' would have been FAR less insulting."

They must cut them all from the same cloth... been there, done that, tore the sleeves off the T-shirt...

[arpthark]

I'm appalled; I would never turn down pimento cheese.

[roweenie]

As far as I'm concerned going "through the kitchen" is often a bonus so that I don't have to interact with the patrons.

Yes, in retrospect, I really should have tried harder to embrace the concept of going through a crowded, noisy, sweltering, slippery kitchen (which is usually the long way in), dogding waiters, chefs and bus boys while carrying a tuba, bass saxophone, bass guitar, amp and music stand, just so I wouldn't have to say "hello" to people who had no more interest in talking to me, than I to them.

[Jess Haney]

I have run into this nonsense as well. I have done some gigs that were promised payment only to receive "exposure." Because well, I only play the tuba . So they promptly ended. I did a brass choir at a local "mega-church" hoping to get on their call list for paid performances. The director said it would be a shoe-in for paid work. After a year I brought up the question again, only to be told, we already have a call list for gigs (all military musicians) and did not feel the need to work outside their contacts. I do have a quintet that works regularly and it brings in good cash. The brass band is free but great enjoyment to be a part of. I have also done work for some "swindlers" That pay their ringer pros two to three times what the rest of us get paid and pockets the majority for themselves. Needless to say they don't get gigs locally anymore.

[Radar]

3/ That guy is the VERY BEST. We can't afford to hire him as a "ringer" for our group.
To the contrary, often the "very best" are those who are the MOST COMMITTED to trying to make a living EXCLUSIVELY by playing music, so (often) their personal finances are strained, and (if the time slots are open) gladly accept work playing most anywhere - and for no more than that person's "lessers" would charge.

(I suppose...) the main point being: IF you need to hire a "professional" musician to work WITH or FOR you, go ahead and contact the "first call" or "best" person FIRST.
[a] They will gladly accept the job, if they have the opening in their schedule.
You'll get the very most for your money, and they will be grateful for the work.
[c] Just as with most everyone else, to them "nice" is at least as important as "good". ex: When there are two remaining finalists for an orchestra job - two who play about equally well - with roughly an equal number of noted strengths and weaknesses - if NEITHER are close personal friends of any of the committee members or music director, and if ONE of them has a PARTICULAR reputation for "works well with others", THAT person, likely, will be offered the job.

=========================================

[/quote]

We had a perfect example of this last Christmas Eve. our usual lead trumpet had become ill, and we were scrambling at the last minute. The director got a hold of Doug Prosser at Eastman (and Rochester Philharmonic Principal Trumpet) hoping to get a student to fill in Doug was available and played the gig himself. Top pro trumpet in the city, nicest guy around, and willing to come in last minute on Christmas Eve doesn't get any better than that. If you don't ask you don't get!!

[Rick Denney]

3/ That guy is the VERY BEST. We can't afford to hire him as a "ringer" for our group.
To the contrary, often the "very best" are those who are the MOST COMMITTED to trying to make a living EXCLUSIVELY by playing music, so (often) their personal finances are strained, and (if the time slots are open) gladly accept work playing most anywhere - and for no more than that person's "lessers" would charge.

(I suppose...) the main point being: IF you need to hire a "professional" musician to work WITH or FOR you, go ahead and contact the "first call" or "best" person FIRST.
[a] They will gladly accept the job, if they have the opening in their schedule.
You'll get the very most for your money, and they will be grateful for the work.
[c] Just as with most everyone else, to them "nice" is at least as important as "good". ex: When there are two remaining finalists for an orchestra job - two who play about equally well - with roughly an equal number of noted strengths and weaknesses - if NEITHER are close personal friends of any of the committee members or music director, and if ONE of them has a PARTICULAR reputation for "works well with others", THAT person, likely, will be offered the job.

=========================================

We had a perfect example of this last Christmas Eve. our usual lead trumpet had become ill, and we were scrambling at the last minute. The director got a hold of Doug Prosser at Eastman (and Rochester Philharmonic Principal Trumpet) hoping to get a student to fill in Doug was available and played the gig himself. Top pro trumpet in the city, nicest guy around, and willing to come in last minute on Christmas Eve doesn't get any better than that. If you don't ask you don't get!!

You quoted bloke, not me, but I have a thousand experiences to back it up. I once played for a church production of Poulenc's Gloria in Austin, Texas. I was (by prior arrangement and approval) late for the first rehearsal because of a conflicting responsibility, and slipped in quietly just as the conductor was starting the group. I heard a trombone sound I surely had never hear from four feet away before, and looked to my left. I was sitting next to the great Donald Knaub. The middle-school kid (presumably a member of that church) sitting on the other side of him was hopelessly intimidated by the situation. One of the movements starts with trombones trading alternate 8th notes. The kid wasn't making sounds at all. Now, Dr. Knaub could have played both parts himself, but during a break, he worked with the kid, and made sure that when we performed it, they played it together as written.

Only the least secure of professionals become territorial with amateurs about their playing. (Territorial with other pros--that's a whole other thing.)

Rick "who has never been reluctant to ask top pros, and only rarely has been brushed off" Denney

[MartyNeilan]

For decades I was involved in music ministry one way or another, usually volunteer. For about the past year, my wife and I have been involved in a motorcycle ministry instead (riding a motorcycle is excellent temporary relief from tinnitus.) We reach a lot more people with the motorcycle ministry and seem to make more of a real impact.

Disclaimer: foreign music missions trips to non-resort locations can also have an equally large impact on people not normally exposed to such music.

Does this relate to Bloke's original post? You decide. Is playing in church about $$$ or about something else entirely?

Marty "who married the choir lady (probably not the same one)"

[ohrlund]

One thing that bothers me is when I have to ask for my pay after a gig. I don't mind if they don't hand me a check at the gig, but don't make me chase after you. I don't know if they are doing it on purpose (they think I won't pursue $35 dollars because its not worth it) or they genuinely think its OK to wait to pay, but it is pretty unprofessional.

On the subject of "exposure";

Dave Earll posted an article a while back. The jist of it was if someone offers to pay you in exposure, turn that into a tangible figure. You have to pay me my standard rate of $XXX, and if the exposure from this gig turns into 3X, 4X, or 5X the revenue from future gigs, you return their money. If they genuinely thought that their exposure was worthwhile, it is an acceptable offer. If they were just trying to get your services for free, it forces their hand and they have to admit that their exposure is worthless.