the savvy musician summarized
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The Savvy Musician in less than 25 pagesTRANSCRIPT
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©Dee’s Notes, 2012
Buy the original book at: http://savvymusician.com/index.php?page=book
or http://www.amazon.com/The-Savvy-Musician-Building-Difference/dp/0982307500
So You Want to be a Musician?
aking a living being a musician is difficult, but so is
almost any other line of work. Many musicians
today make a good solid, middle-class living. They
purse a vibrant and varied line of work that provides personal
satisfaction while adding something of value to society. To
acquire this you need a clear, but flexible vision, pro-activity,
and the wisdom to understand that career paths today look
different than those generations ago.
There are not too many musicians. There are not enough.
When music is all-inclusive, it adds significant quality to existence. As far professional
musicians, the market is oversaturated with well-trained outstanding candidates vying
for a shrinking pool of traditional positions. But the ways people are receiving their
music is changing, so there are opportunities to be creative.
In order to sustain a career you have to earn income from you talents. Many musicians
lack imagination to figure out how. There is potential there to create a career that is
prosperous and meaningful.
This book was written to help musicians build a career earn and living and make a
difference.
The Entrepreneurial Mindset
Many variables contribute to our level of success both as an artist and human being.
Savvy musicians understand that finding a lifestyle that works is much more important
than fulfilling traditional benchmarks of accomplishment
Having a vision and bringing it to fruition are different animals. An entrepreneur is
constantly cooking up hundreds of exotic recipes, many which fail. They continue
baking until something delicious emerges. After enjoying their riches they quickly return
to the kitchen.
Evaluate your skills and map your goals. Create opportunity. Don’t believe that there is
one way of “making it.” Search for existing opportunities and take it if it helps fulfill your
M
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goals. Look for opportunities where they don’t exist. It lowers the competition. Propose
something completely new. Create a new market
Success begets success. If you are not catching the first success, do something outside
the frame, such as a 5 state tour. Create your own opportunity.
Luck. Perhaps it’s a skill. Here are some suggestions that increase your odds of “getting
lucky.”
1. Be good at what you do
2. Have a plan
3. Schedule regular time to evaluate how you’re doing and work proactively in
promoting your career
4. Aggressively pursue opportunities.
5. Build your network
6. Increase your perception of success, which will attract new opportunities
7. Be flexible
8. Plan a lot of seeds and see which one grows
9. Plant better seeds
10. Turn negatives into positives
Build an “empire” by becoming an expert. Create your empire by doing things like
organizing a band, make recordings, speak at conferences, write a book, start an
organization, do consultant work and be creative in the proposals you generate.
Develop a thick skin. Do not have a fragile self-identity. Rejections often times say more
about external factors and the people judging than the quality of your product. All
decisions are biased based on the unique dispositions and history of the evaluators.
But sometime rejections are based on flawed or weak submission. In this case detach
your ego and look for ways to benefit from the experience.
The key to becoming excellent is just do it.
Minding Your Business
No one is looking to simply hire talent. You have to identify your professional interests.
Just don’t come up with ideas. Have a product to sell. Physical documentation
substantiates your vision.
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In identifying your audience, engage new demographics. Don’t try to appeal to
everyone. Engaging in new demographics opens up opportunities for you and can open
the whole market up to new possibilities.
Consumers are online and are interested in purchases that benefit them directly.
Distinguish your product. Many musicians spend a lot of time trying to be alike (playing
standard repertoire in standard venues with standard ensembles in standard ways) but
only better. It’s important to stand out. What features set your work apart?
You might be an outstanding performer, but attracting the first time customers typically
requires a different set of talking points that returning clients. Your actual abilities only
become a primary consideration after you have an audience’s attention.
When it comes to the ratio of content to presentation, don’t be 99:1. Be 50:50.
For brand identity, the name says a lot. It creates the first impression for prospective
customers.
For slogans and logos, the best taglines are concise, usually 7 words or less. At least you
logo should be your name in special font, design and color. Logos, though, make your
brand more memorable. Include it everywhere.
Consider the image you wish to communicate. Make sure it includes the train of success.
A written business plan increases your chances for success exponentially, whether
focused ona sing event, ongoing enterprise or you career in general. Update your plan
at least every two to five years.
Marketing is Everything
Marketing is everything and everything is marketing. Used to
increase sales, it has three overriding goals:
1. Keep past customers engaged
2. Attract new clients
3. Increase name recognition
An effective marketing campaign is one that meets constituents
on their terms. Don’t expect a simple poster campaign to produce
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extraordinary results. Repetition and multiple marketing streams are necessary such as
brochures, newsletters, radio, website, e-mail, etc.
Don’t expect immediate results either. Ongoing businesses must learn the high time
points for their area. Block out regular time for your marketing efforts.
There is no fixed correlation between dollars spent and business earned. Successful
plans will eventually recoup all expenses at the minimum. Don’t be cheap with
marketing, but low-cost solutions are often more effective than high-priced ones.
Musicians who don’t effectively market their products sacrifice untold potential,
guaranteed.
You can learn a great deal about advertising from other businesses, including what not
to do.
Give potential customers a choice to opt-in, such as with free materials like an
information DVD, a free meeting or website resources.
There is no better marketing than word of mouth.
Most often people looking to hire musicians offer the work to someone they know and
like. If not one fits the bill they ask trusted friends and colleagues for a referral. Ask your
network to advocate for you. Offer them incentives like free services, finder’s fees, etc.
Types of media coverage: articles and stories, spotlight series, reviews, calendars and
event announcements, submit editorials/articles or work as a critic, news items,
features, interviews, live performances, hosting a show or event.
When pitching a story, make it easy for your suggestion to be accepted. Have a strong
hook, and gear ideas towards the organization’s target audience.
For print media, submit proposals to multiple writers and editors who deal with music
or local news if it’s a local news event.
Some newsworthy issues are: firsts, something new, unusual, controversial, interesting,
meaningful, famous, educational, and charitable.
For news releases to determine the compelling angle, answer this: If there were just one
minute to pitch your story, what would you say? Why should someone pay attention to
your news? Now boil that information down to a single, sharp, focused sentence. There
is your hook.
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The release must intrigue the reader, answer in the first paragraph who, what, where,
when and why. For the remaining paragraphs, provide additional details in descending
order of importance. Less is better, but the words should not exceed 500 – 700 words.
To attract a critic give 2-4 months lead time, perhaps some follow through and a great
concert experience.
Print Materials That Scream Success
No product can realistically thrive without powerful
physical marketing materials. Even a carefully
“wordsmithed” e-mail to someone you don’t know
can lead to huge opportunities. Print materials must
get noticed by having some unusual aspect, must
reinforce your brand, must not be boring, must
inform and prove memorable by repetition, multiple
streams of publicity and a strong or distinct message.
In their book “Made to Stick: Why Some Ideas Survive
and Others Die,” by Chip and Fan Heath, certain
features make some messages better than others. Represented by the acronym
SUCCESs, they are: Simple, Unexpected, Concrete, Credible, Emotional, Stories.
The most effective writing captures four critical elements: 1) relevant message 2)
comfortable style 3) accurate text 4) fascinating.
Before scripting your bio, brainstorm: your accomplishments, background and brand,
plus some powerful testimonials that have been written or spoken about your work .
Place the most compelling information early on. Try various literary styles: character
pieces, comedic accounts, performer “trivia” lists, poems, etc.
What makes a good publicity photo? Strong impression, appropriate location, recent
and characteristic, headshot/artistic shot, simplicity, single focal point, spontaneity,
contrasts, good lighting, high resolution.
Take the time necessary to create a resume that presents you in the brightest possible
light.
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or http://www.amazon.com/The-Savvy-Musician-Building-Difference/dp/0982307500
Press kits include a cover (pitch) letter, news release, summary sheet/artist bios, photo,
CD/DVD recording, faq sheet, flyers/concert programs, repertoire list, press clippings,
quote sheet, other services you offer, business card, accessory, and envelope. But do
not insert all of these into one press kit. Just insert enough to interest the reviewer
without them being overwhelmed.
You can upload all your materials as an electronic press kit on your website. Many
presenters prefer to receive press kits through websites like www.onlinegigs.com or
www.sonicbids.com
Pounding the Virtual Pavement
The World Wide Web allows savvy markets to reach their target audience inexpensively
and effectively.
In order to formulate a salient Internet marketing strategy, you must first clarify your
goals. Every piece of information released to the Internet should serve some larger
purpose.
A website is the ultimate marketing tool. Without a website your product is invisible.
Without a good one your sales potential will be severely crippled.
There are many paths to creating a website. Learn to program HTML and do it yourself.
Or hire someone.
The concept of being effective is to know your audience and understand what they
want. Begin by determining what really matters:
1. What are you trying to market? If you are not actively promoting something,
don’t expect the site to help your career in any substantive way
2. What steps would you like visitors to take
3. What’s in it for the customer
4. What questions will guests likely have
5. What will draw new viewers to your site
6. What elements will hold their attention and bring them back
Do not overload your website. Less is more. Visit other websites. See what not to do
and what might be good to do.
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or http://www.amazon.com/The-Savvy-Musician-Building-Difference/dp/0982307500
Avoid splash pages which is an initial entry screen. Create an intuitive, user friendly easy
to navigate sitemap with a clear unified layout. Stick to a limited number of standard
fonts. Check for functionality. Seek critical feedback from friends and colleagues you
trust.
Sign up for free directories on the internet. Do a keyword search and sign on to the free
ones. Make sure there are the appropriate key words so your site pops up when
someone does a relevant search engine hunt.
Look for ways to recycle content. Try social networking sites, video-sharing sites,
organization sites, blogging, web base media like Internet only newspapers or
magazines, Internet Registries, Links (see if colleagues of complementary business will
provide a link to your site).
Email response times: many gigs are simply awarded to the person who hits reply first.
Aim for at least one relevant e-interaction each 6 month period, with not more that two
per month. Try sending “video postcards.”
For an extensive list of resources for musician, visit www.savvymusician.com
The New Recording Paradigm
The music industry has had an extreme makeover. Two major
transformations have changed all the rules:
· More choices
· Expense reductions
Mechanical royalties are paid when recordings are sold. A
certain percentage of the retail price, usually 8-25%, is divided
among performers. All funds advanced by the label must be recouped before any
royalties are paid. This includes recording, marketing, touring and other expenses.
The music industry is now faced with a dilemma. In a world where recording can easily
be duplicated and downloaded, often for free, how will artists, composers, songwriters,
publishers and labels get paid? Companies and artist are scrambling to invent download
solutions that are legal, generate cash flow, and are attractive to consumers.
Gone are the days of labels investing heavily in artists they represent, especially in the
jazz and classical worlds. On the other hand, the number of smaller, independent
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companies is proliferating, due to the diminishing cost of doing business. Most labels act
like service centers than full blown sponsors.
An important benefit is distribution. A good label will already have an existing fan base
and be set up to market to an international audience through their own website,
Amazon, Barnes and Noble, Wal-Mart and/or other retailers.
Why not start your own label? One of the most challenging aspects of starting your own
label is distribution. Another possibility is hiring a pass-through, which allows the use of
an establish label’s distribution pipeline for a fee-usually 20%.
Some labels require the artist to make the big investments while they retain the
majority of the profits. Think carefully before entering this type of agreement. Going it
alone requires significantly more work, but the potential difference in payoff can be
substantial.
Even if you have an external label, it is the musician’s responsibility to sell recordings.
Here are some off line options:
· Pre sales: take orders before the recording is released
· Mailing list
· Concert sales
· CD release party
· CD Stores
· Other Vendors
· Event Recordings
By getting people to purchase your CD through your website you maximize profits. Or
you can sell through online retailers who take care of the logistics, such as the Amazon
Advantage for Music Program, CD Baby, or Garage Band.
Get free publicity from a good CD review. Visit www.savvymusician.com for lines to
magazines that review. Compile your list and compose a single-page personalized letter
to each contact on nice letterhead. You can also higher a publicist. They are typically
$1000+ per month.
Recordings are intellectual property. Theoretically, a musical creation is automatically
protected under copyright law the moment it is represented in in tangible form,
whether notated or recorded. Submit an SR form for recording and PA form for original
compositions to the United States Copyright Office (www.copyright.gov) to be safe
about protecting you music.
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or http://www.amazon.com/The-Savvy-Musician-Building-Difference/dp/0982307500
Extraordinary People Skills
Savvy Rules of Engagement:
· Be nice to everyone
· Be positive
· Be reliable
· Be loyal
· Involve the community
· Allow others to feel important
· Ask questions and listen actively
· Clearly articulate expectations up front
· Argue smart-Pick your battles. Never lose your temper. It’s better to be friends
that to be right.
· Never speak badly about anyone
· Think long-term
· Thank people
Networking
Practice, practice, practice, schmooze, solidify contacts, someone who likes you and
believes you are qualified sends work your way. This is how it usually works.
Here are a few ways in which members of your network can help you achieve
professional and artistic aspirations:
· Employment
· Patronage
· Financial Support
· Gifting Services and Time
· Loans
· Introduction
· Recommendation
· Endorsement
· Information
Individuals will only pro-actively help you if they like you. You must stay current. They
most likely will help those with who they’ve recently interacted.
When it comes to networking, some musicians become so obsessed with the “rich and
famous” and they forget about the “little people.” Much of the time it is the “ordinary
folk” who are willing to invest significant energy and resources into your professional
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development. The people you already know may be infinitely more helpful than you
realize. This list probably expands into the hundreds.
Quality time with fewer individuals usually yields better results than unmemorable
fraternizing with the masses. These are some ideas of activities where you can further
expand your network:
· Music school
· Lessons with a “celebrity”
· Festivals
· Conferences
· Concerts
· Gigs
· Boards
· Hobbies/Interests
· Parties
· Volunteering
· Guest Artist
· Networking Meetings
· Internet
Keep a contact list. Several databases should be maintained including:
· Industry list
· Media list
· Fan/Client list
Making the “ask” can be difficult, but you may be amazed how much just asking for
referrals, donations, advice or work can accomplish. At times soliciting assistance may
be the only way to advance your career or bring your dreams to fruition.
You occasionally might have to cold call. If you have to cold call, you must
1. introduce yourself
2. Develop rapport
3. Describe product benefits
4. Generate interest
5. Receive invitation to schedule a meeting, a re-contact at a later point, or submit
materials for consideration.
You typically have 1 to 2 minutes to accomplish all five goals.
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A follow up phone call 1 to 4 weeks after the material has been received is appropriate.
Personal Finance for Musicians
Many financial gurus argue that one can “retire rich’
on almost any income level. Your entire financial
profile must be considered: earnings, spending and
saving.
Your Financial Plan
1. Define your dreams and priorities
2. Analyze your current profile: i.e. is your present
income satisfactory? What debt do you have? How much have
you saved?
3. Create and implement a plan
Earning
1. Music jobs
2. Self-Employed Services
3. Merchandising
4. Competitive Awards
5. Royalties
6. Non-Music Income
For contracts, they typically include:
1. Contact information
2. Gig details
3. Fee
4. Deposit
5. Special needs/requirements
6. Merchandise
7. Cancellation policy
Much of the time, it is spending habits that prohibit people from achieving financial
dreams.
Before accepting any type of loan, consider the sum total, including interest. Is the
purchase really worth that cost?
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For taxes, contractors or organizations that have compensated you more than $600 over
the year must mail you and the government 1099-MISC forms, which state the amount
of payment and show that taxes were not withheld.
For health insurance, a number of musical associations offer health care plans at group
rates to members, such as Chamber Music America (www.chambermusic.org), American
Federation of Musicians (wwwafm.org), and the Music Teacher’s National Association
(www.mtna.org).
Saving:
· Compound interest: you can invest less and get a return of more. The amount of
an investment increases as money earns interest.
· It does not require great fortune to make investing worthwhile, especially if you
are young. Many musicians that “don’t have enough money to begin thinking
about investing” spend more than $5 a day on non-essential superfluous
expenses such as coffee, cigarettes or eating out.
· What to do with savings: Pay down credit card debt, build a rainy day fund,
invest
Nice Work If You Can Get It, Part 1
Freelance work makes up the vast majority of opportunities available to performers.
Proactive players often secure significant work within a few years. Work for freelance
performers, even those who are well-connected, is irregular and unpredictable. Certain
times of the year tend to be more lucrative than others. Because of these erratic
conditions, freelancers must be particularly disciplined about saving money when times
are good.
Music contractors hire performers to fill out ensembles. They usually work for a fixed
predetermined fee paid by the employer. Booking agents hustle and secure gigs,
typically for a 10 to 20% commission of the overall amount. When seeking freelance
work, find ways to network with the hot shot contractors in town.
For getting gigs, contemplate strategies for the following;
· Getting the call
· Getting the offer
For getting more gigs, get out of playing background music.
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Also:
· Create personal relationships
· Give them a story
· And continue the relationship by:
o Asking for references
o Sending greeting cards
o Gifts
o Discounts and
o Annual gigs
Ultimately, musicians are always responsible for their own success
For management, a less experienced manager with fewer contacts might be willing to
devote more time to your cause that someone juggling an extensive roster. On the
other hand, they may be unequipped to get you much work. Regardless of whether you
get your management through a firm or through one of your personal networks, it is
essential that your manager has a substantial network, clear understanding of your
vision and exceptional people skills.
Usually a 1 to 3 year contract is signed and a 20% commission on gross earning is taken
by the manager.
13 steps to booking concerts:
1. Develop an intriguing product
2. Determine the audience
3. Compile promotional materials
4. Research options
5. Script sales pitch
6. Make contact
7. Follow through
8. Agree on a price
9. Sign contract
10. Stay in touch
11. Market
12. Have a great show
13. Keep in touch
Buy the original book at: http://savvymusician.com/index.php?page=book
or http://www.amazon.com/The-Savvy-Musician-Building-Difference/dp/0982307500
Performers as Educators
There is potential work in most regions for performers to embrace teaching
opportunities. When packaged appropriately, almost any audience is responsive to
educational events.
Lining up education work includes the same skills as lining up freelance work. Create a
brochure and website including a description of offerings, testimonials and FAQs.
Get on with a school by learning who has the authority to approve programs like the
principal or PTA director. In some regions there are booking agents who specialize in
educational programs, orchestrating events in exchange for a commission.
You can also design a workshop. Find an intriguing “hook” that allows for exploratory
journeying. Programs can be built around a composition, musical element, genre,
historical period, holiday season, or social issues such as leadership, collaboration,
multiculturalism, the environment or self-esteem.
Tips for talks:
· Make presentations user-friendly-leave out technical jargon
· Build self-confidence-with comments like “that’s a great question,” and validate
responses even if not 100% correct
· Don’t read a script
· Keep things moving
· Beware of know-it-alls by finding a polite positive way to redirect attention
When scripting an event, balance the following elements:
· Music
· Activities
· Narrative
Nice Work If You Can Get It, Part 2 (for composers)
One the primary ways composers earn income is through commissions. These
commissions can be funded by:
· Artist/ensemble,
· Ensemble grants (www.chamber-music.org),
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· Composer grants from organizations like the Fromm
Foundation (www.music.fas.harvard.edu/fromm.html)
· Competitions
· Single donor
· Multiple donor
· Consortium
Some commissions come with strings attached, such as agreeing
to let the initiating ensemble give the premier performance, make
the first recording or maintain exclusive performance rights for a given period.
Self-publishing requires more work than going with a publisher. Some tools to self-
publish are:
· Website
· Other promotional materials
· Nice quality paper
· High quality laser printer
· Fax machine
· Binding unit
· Long –neck stapler
· Mailing envelopes
Music for some ensembles, especially orchestras and large chamber groups are typically
rented instead of sold. Groups pay to borrow the score for a given period of time,
retuning thereafter the performance. Rentals ensure that the publisher (you) and
composer (also you) receive additional payment each time the work is performed.
To determine whether they will acquire the music and perform it they must either:
· See it
· Hear it
· Find it
· Request it
· Commission it
· Know you
· Know of you
· Receive solicitation
Never send of unsolicited materials. Begin my making a contact instead.
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For the composer to get maximum performances of their music, consider the following:
· Function
· Accessibility-will it resonate with your audience/
· Score clarity
· Orchestration
· Difficulty
· Duration
· Uniqueness
Additional Self-Employment Options
· Music Technology-engineer, mixer, editor, or producer
· Instrument Retail
· Repair Technician
· Music Author
Funding Your Dreams
If the vision and will is strong enough, there is often a way to bring dreams to fruition.
These are 6 ways of funding your goals:
1. Savings
2. Income
3. Loans
4. Grants
5. Donations
6. Fundraising Activities
Open a bank account solely for the project at hand.
Decide whether to be a for-profit or nonprofit. A board of directors, compulsory for
nonprofits, is also helpful for for-profits.
Assemble and maintain a comprehensive budget that includes both projected and actual
figure and expenditures.
Grants provide capital that doesn’t have to be repaid. Funders, however, expect a return
on your investment. They want to support endeavors that will realistically be completed
as described in the proposal.
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Types of Grants (pg. 235 in the original book)
· Career Fellowships
· Collaborative projects
· Commissioning
· Community engagement programs
· Copy work
· Educational Programs
· Hosing a concert series/festival
· Programs with a social agenda
· Recording
· Researching
· Residencies
· Unique projects
· Studying domestically/abroad
· Touring
· Working with a mentor
· Writing about music
Majority of grants are earmarked for non-profits, but you may still qualify for these
types of grants as a for-profit.
Compiling the submission:
· Don’t get disqualified-reviewers look for red flags first
· Prove suitability-address every point in a grant description
· Are exceptional-projects with some outstanding feature fare best
The selection process
Rejections are for:
· Incomplete
· Late
· An extension was requested
· Not eligible
· Wrong formatting
· Not a good fit
· Poorly written
· Sloppy presentation
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· Lack of graciousness-always treat employees of the organization with respect
even if an error is mage
After disqualifications are made, some aspects are considered for the remaining
applicants:
· Necessity
· Effectiveness-will the need be successfully and creatively addressed
· Impact
· Quality
· Likeliness
· History
· Sustainability
Donors
Donors typically give for some of the following reasons:
· To help someone they care about
· To support a project or cause in which they believe
· To feel important
· To be part of a movement
· To live vicariously
· To wield influence
· To obtain an incentive
· For tax breaks
Donors are much more likely to consider projects that already have financial
momentum
Fundraising Activities
· Concerts
· Services
· Pre-Sales
· Games
· Auctions
· Ads
· Joint Ventures
· Raising money in difficult times
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or http://www.amazon.com/The-Savvy-Musician-Building-Difference/dp/0982307500
Outstanding Performance Plus…
People who come out to see you are looking for:
· Entertainment
· A new or exceptional experience
· Significant happening
· Social function
· Personal connection
· Excitement of live performance
If you are not drawing packed houses, there may be a problem with
1) perceived relevance to your event 2) your marketing campaign 3) a combination of
the two.
Musical Considerations
· Form, cohesion and progression
· Duration
· Memorization-memorizing the music facilitates a deeper understanding of
works performed, permitting more interpretive and physical freedom, and
breaking down barriers with the audience
Engaging the Audience
Your audience’s perspective is of paramount importance, maybe even more than your
own. Taking these critical supporters for granted can lead to dissatisfaction. One goal of
performers would be to move viewers so they will be eager to attend other events.
With new viewers it is essential to gain a faithful commitment early on with (Pg 259 –
264 in original book):
· Music
· Stage Presence
· Public Speaking-find ways to hook the listeners
· Audience Participation
· Pre and Post concert activities
· Applause Etiquette (for classical music)-If an “uneducated” audience claps at the
“wrong” time please be gracious in accepting their zeal. It simple means they
are enjoying themselves
· Surprises
Buy the original book at: http://savvymusician.com/index.php?page=book
or http://www.amazon.com/The-Savvy-Musician-Building-Difference/dp/0982307500
Extra-Musical Elements
Music is theatre. Concerts are visual. Musicians should evaluate every aspect of their
presentations, from the moment people enter the venue to the time they leave.
Elements to consider:
· Venue
· Setup
· Set Design
· Staging
· Interdisciplinary options (partnerships with dancers, poets, actors, visual artists,
cinematographers, etc.
· Technology
· Attire
· Downtime (classical)-can be a creative point of departure. i.e. set changes are
ideal for addressing the audience, reciting poetry, showing a short film, etc.
· Intermission
The argument that musicians must embrace conventional rituals is just as perilous as
unilaterally rejecting them.
Artistry & Relevance
To succeed as a professional musician, you must consider two overriding elements: 1)
business concerns that allow you to develop a prosperous career and 2) artistic issues
that enable you to offer something meaningful (both to yourself and others).
To the first point, success is any business requires a clear understanding about what
society values and why. No matter how much talent, dedication and creativity you have,
only products with an audience sell.
To the second point, there is more to life than just money.
Understanding our role
It is recommended that every project actively address several of the following goals
listed in no particular hierarchy:
1) Inspire the audience
2) Amuse the audience
3) Educate the audience
Buy the original book at: http://savvymusician.com/index.php?page=book
or http://www.amazon.com/The-Savvy-Musician-Building-Difference/dp/0982307500
4) Heal the audience
5) Communicate something to the audience
6) Create community with and among the audience
7) Stretch and challenge the audience
Leaving a Legacy
What kind of legacy will you leave? How will you affect the lives of those around you?
When your name arises in conversations down the road, how will you be remembered?
A sense of higher purpose focuses priorities and gives us strength during the most
difficult times.
How can this affect your life? Through:
· Focus
· Opportunity
· Fulfillment
· Value
· Community
What you do with your time on Earth is significant; equally essential is how you do it.
Some Legacy categories:
· Inspiration
· Mission
· Niche
· Uniqueness
· Project
· Ongoing project
· Education
· Personality
· Passion
· Compassion
· Team building
· Service
· Excellence
Buy the original book at: http://savvymusician.com/index.php?page=book
or http://www.amazon.com/The-Savvy-Musician-Building-Difference/dp/0982307500
Savvy musicians with a mission can influence the world in powerful ways, big and small.
We can leave meaningful legacies that truly make a difference.
Buy the original book at: http://savvymusician.com/index.php?page=book
or http://www.amazon.com/The-Savvy-Musician-Building-Difference/dp/0982307500
For more great reads and guides visit my
website:
http://DeeFlowersConsulting.com
©Dee’s Notes, 2012