Posts Tagged gigging

Pro Musicians’ Tips #1 of 4: About Instruments & Equipment

 

As a supplement to the large bodies of valuable information available, these lists of “Pro Musicians’ Tip” has been compiled from years of personal experience, observing others and by personal survey of about a dozen working professionals spanning all echelons of the business from local clubs to major-venue players and stage hands. In my book, How To Make A Living as a Musician, these were listed as appendix material, called “Miscellaneous Tips & Advices.” These tips represent dues well paid over many, many years. Though this is a hefty list, there are hundreds of other tips around to be discovered. Use them to enhance your prosperity as a musician!

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The Musicians’ Basic Gig Checklist

 

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The Musicians’ Gig Checklist lays out all the things you could need at a gig: a fuse can blow, a string can break, a strong wind can blow your music off the stand, your guitar battery could go dead or you could be swarmed with bugs on a hot day. It’s a drag to be at a gig and not have something that you need, and knowing the possibilities prevents potential disasters.

 

 


    BASIC SET-UP

  1. Instrument(s), cables, wiping cloth and any needed accessories your instrument needs. E.g., extra reeds for sax players, valve oil for brass players, rosin for string players, etc.
  2. Amp, if not acoustic
  3. At least one extra instrument cable if playing an electric instrument
  4. An extension cord, three prong adapter, junction box and a small flashlight
  5. Any tools you use (screwdrivers, pliers, keyboard stand tighteners, drum key, etc.)
  6. Instrument tuner
  7. Extra fuses for your amp
  8. Extra batteries if you use them
  9. Extra strings if a string player with a wire cutter and extra picks if a guitarist or bassist
  10. Effects units with all the cables if you’re using these
  11. Anything else you might need, i.e., a towel if you sweat a lot, a hygiene bag, umbrella, rain boots, musicians’ earplugs for extremely loud music, etc.
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Slang Terms Every Musician Should Know

 

The Musicians' How-To Series "How to Run a Band"

 

Professional musicians have developed certain slang terms and “sign language” gestures to communicate various instructions to the other musicians on the stage. Knowing these is an important part of being a functional, gigging musician.

 

These are a few “must know” terms for any working musician or singer.

 

  1. Bows, walk-ons, intros and play-ons — Specialized music used to introduce people when they are to “take a bow.” This music usually consists of short, well known melodies from popular songs or orchestral works. Bows are used for exiting as well as for making an entrance. Here they are called bows, walk-offs, outros and play-offs.
  2. Calling tunes — Deciding what the next tune to play will be, and telling the rest of the band about it.
  3. Count off — Counting aloud before the tune starts to establish the tempo and meter (how many beats in a bar).
  4. Cue — A physical gesture, audio signal (specific melody, rhythm, lyric, etc.) or lighting effect, signaling that some change is going to happen.
  5. Fingers in the air — either designate what chord you are on, or what key you are in. A “I chord” would have one finger in the air, a “IV chord” would have four. For showing what key you are in; fingers going up represent sharps, while fingers going down represent flats. Since the “Key of G” has one sharp, one finger going up is the “Key of G.” Since the “Key of F” has one flat, one finger going down would be the “Key of F.” (Definition: Roman numerals have been used as chord symbols for hundreds of years. A chord built from the first note in a scale is called the “I” chord, a chord built from the fourth note in a scale is called a “IV” chords, etc.)
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How To Run a Band

The Musicians' How-To Series "How to Run a Band"

 


This article outlines the “executive” functions that can lead a band to success. One of the main reasons why a band can fail, or move slowly is lack of organization and leadership. Someone has to steer the boat. This article outlines the basic functions that HAVE to occur in order to succeed. Some subjects mentioned are: planning and goal setting, marketing, finances, gigging, internal and external communication factors, public relations and important basic policies.

 

ORGANIZATION CONSISTS OF coordinating activities, things and people in order to achieve the stated goals. This would encompass how many gigs a week you want to do, what kinds of gigs you want to do, and any other aspect involved.

Here are some specifics about band/group running no matter what kind of group it is. These are group specifics that a band leader needs to be responsible for to ensure his show gets on the road—or to a club, or a casual, or a concert.

 

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What Kind of Gigs Do Musicians Play for Money?

 

Making it as an original artist or session player are goals of many musicians and singers. Until a person achieves these ranks in the music business – how does a musician make a living? My students asked me this question for years and here’s the info. This article covers traditional instruments, as computer driven music is a topic for another article.

Since different instruments provide different functions in the music biz, e.g., soloing, playing accompaniment, etc., the gigs they get follow accordingly. Though I primarily cover the more popular instruments, many classical instruments will be mentioned. If you don’t know what these instruments are, or what they sound like, I suggest going to a library and checking out CD’s that describe and demonstrate them. There are also a number of excellent computer programs that do this if you’re set up for it.

The purpose of this article is to expose you to the types of gigs different instruments are used for. I mention how gigs are gotten, though complete information is covered in my “MUSICIANS’ HOW-TO SERIES.” Here are the usual calls:
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Starting Your First Band

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Starting a band can be a lot of fun. Since you could be starting an original band or a cover band, I’ll discuss the points that relate to both. Use the information that relates to your scene. Basically, you get a bunch of musicians together with similar goals, get your material together and go at it; you rehearse and do what you’re going to do. Sometimes it’s just that simple. Putting a band together to jam every week can be pretty straight-ahead. If you have goals that involve getting paid gigs or live in small town with a scarcity of musician’s, things can be little more involved.

Deciding on Material

The material your group is going to do is determined by what kind of music you want to play, modified by the types of gigs you want. If you’re doing original music, well… there’s your material. You write it yourself or as a group effort. If you’re getting together just to jam and have fun, your mate­rial could change every week. If the goal is getting paid work, you need to play the kind of music people want to hear—that is the main thing that creates a demand for your group. If this is the goal, you need to decide what style(s) of music to play that you can make money with. Getting gigs is fully covered in other articles but keep this in mind: Immediate in­come means cover music. Unless specifically going to an original music club or restaurant to see new artists, people like to hear music they are familiar with and that’s what they will pay for. (Original artists make money by selling their CD’s at gigs but that’s a topic of different article.)

Getting Band Members
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How To Tighten Up Your Band

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The object of rehearsing is to tighten up the band’s performance and presentation. When an audience listens, they hear the whole sound. A tune, a set and a show each has some­thing being communicated for an emotional impact. It could be lyric content, musical flow, energy intensity or whatever. This is why the music needs to be fluid and clean to make the music sound good as a group.

Individuals need to prepare their parts at home alone. Band rehearsals are to get the band tight. Obviously, if you need to pause for someone to work out something you do just that, but that’s not the purpose of group rehearsals.

The following principles largely address commercial cover bands, but apply to any size or style of ensemble. These rehearsal principles hold true for original bands as well even though the initial purpose of each rehearsal could be to write and develop material rather than groom a per­formance.

Key aspects of rehearsals include:

  • Where to rehearse.
  • When to rehearse.
  • Deciding on material.
  • Getting the material (tapes, CD’s, written music, etc.).
  • Writing any needed charts.
  • Someone being in charge of making tapes of the material for everyone.
  • Everyone having a cassette/CD/iPod player to learn the tunes with.
  • Each individual having a distraction-free, personal practice space at his or her home.
  • Deciding on what tunes to learn first.
  • Having someone in charge of running the rehearsals.

This is what you do:

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Too Many Bandleaders on The Stage?

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I performed two very different gigs over the weekend. One of them, I was brought on the be the bandleader and make sure that everything ran smoothly, which it did. It was a major show (2,000+ people). The drummer ended up being the “artistic director,” along with the main lead singer, and I just monitored everything and made sure that things were efficient and everyone was ready for the show.

Which we were.

Another gig I played was a bit more thrown together. It would have been really smooth, except there wasn’t a designated bandleader running things–so it was periodic chaos. “Let’s do this tune!,” no, “Let’s play this other tune!” Etc, etc. Things rapidly became uncomfortable and turned into chaos so I elected myself the bandleader, ran the show and everything was smooth from that point on. Not to blow my own horn, as I don’t care who leads the band. But someone has to be in charge.

Always have a bandleader!

Marty B.

Buttwinick Teaching Studio
Musician – MySpace
Personal Site

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