It takes a village, Part 1 of 2

Guest blogger Emily Sorensen*, former Play Music Educational Studios administrator, takes a look at the parent's role and perspective in getting the most out of private lessons for your student. 

As a parent it can be difficult to know how to interface with your student’s private music teacher. This is part one of a two part series with some tips and suggestions to help you team up with your student and his/her music teacher to increase your student’s success.

As a parent you can expect a short list of characteristics from your student’s teacher regardless of his/her background. Some of these characteristics include:

• Professionalism

Many of us associate professionalism with the corporate industries and, more often than not, associate beatnik and hippie stereotypes with the music industry and aren’t sure what to expect with music instructors. So many of the things in this category seem like common sense, but because of the aforementioned stereotypes, it bears repeating. 

• Personal grooming and good hygiene: A professional music teacher should appear to care about personal grooming and hygiene. Something as simple as showing up in clean clothing in good repair can make a big difference in your student’s ability to focus during lesson time. 
• Punctuality: The teacher should be punctual. Being on time and organized prior to your student’s lesson allows your student maximum time to get through material and both teacher and student are able to concentrate. 
• Legitimate skill set, instrument knowledge and current industry experience: In a previous post I wrote about knowing how you are getting a good deal for the money you spend and a big part of professionalism is having a legitimate skill set and knowledge of the instrument they are teaching as well as current experience playing their instrument.  
• Interest in your student’s progress: One of the biggest professional qualities your teacher should have is caring about your student’s progress and skill development. In a hard economy many people who played in junior high and high school or took lessons for a while and need to make a little extra money might start teaching lessons. Often times those can be, “my personal music history,” lessons and not much by way of progress for your student. Yes, a teacher needs to have experience and be able to relate to your student’s current experience, but the overall goal needs to be about your student.

• Communication

The importance of good communication cannot be over emphasized. Everyone’s experience in music lessons is enhanced when good communication is expected and practiced. Sometimes that means being willing to say something that seems common sense or seems like it could go unsaid. Again, communication should be professional and tactful at all times. As a parent, never feel bad about asking a question or expressing a concern. You should feel comfortable expressing yourself and expecting your teacher to be clear with you and your student.

• Clear Expectations and agreements

This goes hand in hand with communication, but is worth pointing out specifically. You should be able to expect a clear list of expectations for your student and you. This often will include expectations about payments, practicing, attendance, rescheduling and make-up lessons, personal emergencies, studio group activities and suggested memberships and such. However, don’t expect the list of student/parent expectations to be all inclusive. There is not a way, nor should it be required, to account for every possible scenario. More often than not you will find that professional teachers who are willing to communicate their expectations for you and your student are willing to listen and work with you as long as you don’t try to take advantage of them.

In addition to a list of expectations for you and your student, a list of clear expectations and agreements about your teacher’s behavior should be part of your lesson experience. Teachers should communicate with you how and what to expect as far as their policies, personal emergencies, rescheduling and make-up lessons, holidays or no lesson weeks and how they handle the non-lesson elements of their business (payments, credits, statements, receipts, referrals, etc.) Again, the list can’t possibly include every situation and scenario, but should provide for open and clear communication.

• Pricing Structure & Payment Policy

This is another element that goes hand in hand with communication, but is important enough to discuss as an individual point. Good music teachers are in business. As consumers, we often overlook the arts as businesses, but it’s extremely important to remember your private music instructor is providing a valuable service, and this is an important part of how they make their living. Imagine if you went to work and didn’t get paid on time or consistently and often you were carrying your employer with a balance they owed you at least one month behind. Keep this in mind as you are paying for lessons, and expect a clear pricing structure and payment policy from a professional private music instructor. 

A clear pricing structure will include a price per lesson, often based on the length of the lesson. 20 (for younger or beginner students) 30, 45 and 60 minutes are common time increments for lessons. The longer your lesson time the more you can expect to pay. Also, the more educated/experienced the teacher, the more you can expect to pay for lessons. It is expected that you pay for lessons a month at a time and at the beginning of the month. It is common for teachers to charge an additional fee for paying later in the month. Some pricing structures offer a discount for paying in full on time, however, this is less common so it shouldn’t be expected as part of a good pricing structure. Before you begin lessons, be prepared to carefully read and discuss the pricing structure and payment policies. Nothing can ruin a lesson experience like miscommunications about money - so be clear about your expectations and what is expected of you. 

• Knowledge of available resources

This seems like a silly expectation to have for a professional private music instructor. However, it would surprise you how often you will need to talk to your teacher about where to purchase items, software, supplemental materials, instrument upgrades, music camps and many more items that are indirectly related to lessons. You should feel confident in your instructor’s knowledge and comfortable asking for information. Many times you won’t need to ask because the instructor will volunteer the information about resources, but you should expect to be able to get an answer if you ask your instructor.

In part two of this series we'll explore a team approach to student success. We’re looking at what parents can expect to contribute to their student’s success.

*Yep, Emily is my wife and best friend. She's also an experienced musician and was the administrator at our music teaching studio where she worked with about 20 teachers and over 100 students. She dealt with all of the day-to-day operations, including interfacing with parents and students. In short, she knows her stuff.

Getting Paid

I’ve said more times than I can count while working out the financial details of a gig, “I hate the money part of this.” And I really do. The worst part of being a freelancer is the discussion about money, because your service, like any product, (and don’t kid yourself - it’s a product) is to be had for the lowest possible price. To quote a colleague of mine, “That’s why they call it show business, not show friends.”

Because I find the money aspect so uncomfortable, I’ve often said things like, “I wish I could play for free,” or this little chestnut, “Y’know, I play for free. You pay me to set up and tear down.”

But sometime over the last year, my mind and heart have changed. I do love to play. I would rather play than not play. And I do wish I could play for free. But what I mean by that is that I wish I was financially well off enough to do whatever I want every day - and what I want is to create amazing music with amazing people as often as possible. 

At the end of the day, I am getting paid to play. I’ll also set up and tear down as a part of the package. But if all a client wants is set up and tear down, they can get somebody else to do it a lot cheaper than I will. 

There are myriad reasons to expect - and get - a fair price for your services.

It has always been the case, but especially when the economy is down, people have a hard time paying for something they essentially see as a God-given talent. Especially with musicians, not only do people sometimes balk at paying a fair price, but they also ask for extra service without extra pay. 

One classic example is this: The evening is a complete success (and, of course, the band had nothing to do with it) and the party/reception/event is running longer than the original booking. Your client nonchalantly strolls over and says, “You don’t mind playing a little longer, right? Say, another half hour?” But at the end of the night, you get the amount you agreed upon, without the extra half hour. 

Seriously?! Do you say to the plumber, “I know I called you to fix the sink, but could you do the toilet while you’re here, too, and not charge me any extra?” Or to the doctor, “Hey, I know you’re working on my appendix, but since you’re already in there, how about the ol' gallbladder, too?”

Somehow a certain segment of humanity doesn’t view art and entertainment as a legitimate product. At least not like they see a car, or furniture or accounting services. Not only do they not want to pay a fair price, sometimes they don’t want to pay at all. For example...

I’ve only been truly “stiffed” one time. It was a DJ gig I took as a favor for a friend of mine who came down sick at the last minute. I was supposed to provide a sound system and some music at an elementary school holiday party/assembly. Somehow the communication wasn’t clear, because I thought all I was doing was playing music, and the principal was expecting games, dances (like the Hoky Poky, Chicken Dance, etc.) and more. 

At the end of the gig, I went to the principal to get a check, and she refused to pay. She said that I hadn’t done anything that she had expected, and that if I had a problem I could take it up with the district office. I was young and inexperienced, so I walked out with no cash, but having learned some huge lessons. 

Truth be told, there was fault on both sides. It is completely unprofessional to hire someone, allow them to set up, work the event and tear down and then not pay them a dime. But also, I had no business accepting a gig that I didn’t know anything about and wasn’t prepared to fulfill.

So, if you want to get paid, I recommend following a few simple rules when booking a gig. 

• Set up a base rate. For example, X number of dollars will get the client four musicians and a sound system for two hours.
• Give yourself a, “minimum wage.” In my case, there is a minimum limit that a gig must pay to make it worth the packing/loading, wear and tear, fuel and missed opportunities. You may think this will cut you out of gigs, and it may at first. But if you’re not willing to set a minimum, then you will get taken advantage of. And if you’re a great player and a reliable, workable human being, people will pay your reasonable rate to get you on the gig. 
• Set up an overage rate. Say, for every hour over, the client will pay X number of dollars per musician, billed in 1/4 hour increments. If the time goes one minute over, you get paid for 1/4 hour. If it goes 31 minutes over, you get paid for 3/4 hour. This may seem very mercenary, but it will keep your client from abusing you. If you have this agreement in advance, the client knows exactly what they will be paying you for staying later, and you know that getting home late will be worth your time.
• Get the particulars in writing, and get a signature. This doesn’t necessarily have to be legally binding (although that’s not a bad idea), but if there’s any sort of disagreement, you have something to “remind” your client with.
• Get at least part of your pay in advance, and make part of it refundable. One reason is this: In the summer months, it’s not uncommon to get rained out of an outdoor gig. Make sure the client can’t pull the, “no play, no pay” card. They need to understand that you’re working, whether or not Mother Nature cooperates. 

Of course there are other things to think about, but getting in the habit of following these or similar rules will make the financial part of being a musician a lot easier to deal with.

The bottom line is that when you start viewing yourself as, and acting like, a professional, others will treat you that way.

Happy drumming!

Surviving A Band

And I do mean, "survive." Bands are awesome, and you should play in some*. Just know what you're getting into, and have a strategy for keeping your career and long-term goals intact while serving the needs of the band at the same time.

One the most critical keys is determining what the band ultimately wants, and what path it will follow to get there. As an individual musician, you need to have your own goals and path, as well, and you need to determine as early as possible whether your plans and the band's plans can work together.

If they can't, then it will probably blow things apart sooner rather than later.

A friend of mine tells a story about how his band broke up after a big contest over what they would have done with the money if they had won. They didn't win. There was no money over which to fight. They still broke up.

Personally, I've been a member of three different bands that negotiated record deals. Not one was signed, primarily because we couldn't and didn't agree on what we wanted and where we were headed. In this type of situation, the end result is that the band either breaks up or makes drastic changes to survive, most often the former.

It goes without saying, but a critical key is how the money will be handled. In the beginning stages, it may be how much each band member will be expected to kick in for equipment, recording, touring, merch and the like. Once the money starts rolling in, though, the real fun begins. Decide up front whether you will share the money equally, or whether you will divvy it up by role and workload. Whatever you decide, everybody has to feel comfortable. The only acceptable vote is a unanimous one.

Once band members either feel like they're working harder or contributing more than others, or that they're not being compensated fairly, the end is probably near. Money changes all, and if not handled carefully, it can cause real problems both on and off stage.

In the "real" music world, one of my favorite bad - but common - examples is a story told by a friend of mine, a former programming director for a group of pop/alternative radio stations in the Salt Lake City area. She had been to an after-concert party of an extremely famous band and ended up on a flight with them the next morning. The lead singer was flying first class, but the rest of the band was in coach. Why? The singer was also the songwriter, and was thus getting paid royalties from radio play and publishing as well as money from album sales, touring, merch, etc.

A couple of good - also very uncommon - examples of how to keep a band alive and healthy are Coldplay and U2, far and away two of the most successful bands in the history of modern music. Both of those bands share all of the income and credit equally. It's no stretch to think that one of the band members contributes more to the actual songwriting than the others, but they have (wisely and accurately) predicted that if one of them starts making a lot more money than the others, the band likely will not survive for long.

Both of these bands have had long careers and show no signs of slowing up. Both bands also realize that if they aren't successful, it doesn't matter who makes the money because there will be little or no money to be made. Likewise, they have realized that if they are very successful, there will be plenty of money to go around, and there is no place for greed in a great band.

It's not all about the money, though. While the financial side of things is absolutely critical, the most important thing is to make sure that you're taking care of you. Not that you're slighting the band or distracted from what the band needs, but that you're continuing to develop yourself as a player and musician, and that your eyes are on the bigger, longer term picture. In short, you should work like the band will be successful forever, but have a backup plan in case it goes bad.

Above all, don't let anything stand in the way of you becoming the best, most successful version of yourself that you can be, and that involves keeping your options open and continuing to broaden your abilities and exposure.

It's okay to be in a country band and play jazz on the side. It's okay to play in a metal band and really love pop rock. In my world, there's nothing wrong with loving Justin Bieber (platonically, of course) and Diana Krall at the same time.

*If you're a drummer, what else ya gonna do? Unless you're Evelyn Glennie or Terry Bozzio, you're playing with other people - all the time!

Gear Up: Buy used, but don't get burned

It's a fact of life that, if you're a musician, there's a never ending list of instruments, accessories, equipment and gear that you need to buy. While many of your purchases need to be new, you can save a significant amount of money if you can find good, well-maintained, used gear.

That being said, some of the worst purchases I've ever made were, "Too good to pass up." If it's cheap, there may be a reason, and you should know it before you plunk down the cash.

Here are five questions I wish I'd asked before I bought every piece of used gear.

1. How old is it? With a little help from Google, this can be a game changer. You may stumble across a rarity or find a certain model year or era that had serious problems. This can also help you determine where the item was originally manufactured, or if the company was bought/sold before or after the date. All good information if you're trying to get parts or compatible items.
2. How has it been stored and transported? You'll probably have a few follow up questions here, but this will give you an idea as to how the current owner cares for gear, and what the likelihood for significant wear and tear might be.
3. What modifications and repairs has it had? Some people just can't leave it alone (which can be a good thing), but you definitely want to know what's been altered, replaced or repaired. This question can also reveal an accident or weather incident.
4. Why are you selling it? Again, keep asking this question until you get a few answers. "I just need the money," may be true, but that's usually just the default response. Turn the question around and when they tell you how great it is, you can say, "It does seem like a great deal. Why aren't you keeping it?" Get to the bottom line.
5. Is that the best price you can give me? I'm not about taking advantage of people or being dishonest in any way, but that doesn't mean you can't negotiate the price. Also, as I've said before, see if you have anything the seller may want to trade for. At any rate, get the very best price you can, and don't pay it if it doesn't make sense for your needs and budget.

Again, there are more questions you could ask - feel free to suggest some in the comments - but these should give you a fair view of what you're buying.

And I know that gear is not cars (for the most part, at least!) but there are two more quick things I like to keep in mind. 

"One man's trash is another man's treasure." As I've said before, you can find many a great deal buying from someone who simply doesn't have a use for the item or needs quick cash, but...

"Don't buy someone else's problems." As is often the case with cars, there may be a very good reason that the item is such a good deal, and you may find it out the first time you have to use the thing on stage or in the studio.

Happy shopping!

The Weight Room: Summertime is practice time

If you're a junior high or high school music student, it's time for a little heart to heart. Your music teacher absolutely hates the summer break. I don't mean that they aren't looking forward to some vacation time or a chance to work on some other interests. But they absolutely hate the fact that they just spent nine months getting you to a certain point, and you're going to spend the next three months letting a good portion of that progress go to waste.

Sound harsh? It'll get worse. Trust me.

Let's talk physical fitness for a second. Take an average person and put them in a daily training regiment and diet geared toward, say, strength training. If they follow the program on most days of the week, they will make progress toward the goal of gaining strength. If they don't follow the program, they simply don't make progress, right? Wrong.

In actuality, if you're not following the program you're not just failing to make progress, you're actually losing what progress you've made. This is the way the body functions, and it's absolutely the way that music - or any other - skills function, as well.*

Another way to think about it is to imagine a hot air balloon. The balloon has a burner that heats the air inside the balloon. As the air gets hotter, the balloon rises, but as soon as the burner is turned off and the air begins to cool, the balloon starts to fall.

You're either rising or falling. There is no standing still. And once you've fallen, even a little bit, the next bit of energy expended isn't to help you make progress. It's just to get you back to where you were. In the music world, this is called, "maintenance practice." This is the minimum amount and type of practice required simply to keep you from losing the skills you have.

Jascha Heifetz, the legendary violinist, once said, "If I don't practice one day, I know it; two days, the critics know it; three days, the public knows it."

So, with that thought in mind, let's talk about some ways to keep moving forward even when school isn't in session.

First things first. You just have to do it. What's the hardest thing about going to the gym? Going to the gym! Once you get there, it's not a big stretch to complete a workout. The same is true with practice. Once you've got your instrument, music books and pencil out and you're prepared to practice, it's almost impossible not to practice. In the words of the immortal Mary Poppins, "Well begun is half done."

Next, set some goals. Instead of saying, "I'll practice one hour per day," say, "This week I'll get all twelve major scales memorized." And that can be part of a larger goal, like, "Before school starts again, I'll have all the major and minor scales and arpeggios memorized - two octaves - and be able to play through them with a metronome in under four minutes." Now, that's a bunch of goals tied together in one sentence, but you get the idea. Talk about what you'll do, not how much time you'll spend.

Finally, spend more time. And in this case, I really mean spend. Think of it like money (even though it's far more valuable). When you spend a dollar, you expect a certain value back from it, and you only have so many dollars, so you have to spend them carefully and make sure that you're getting value back from your investment. Instead of thinking, "I have to practice for an hour today," say, "I can only give myself an hour of practice time today, so I'm going to get as much out of it as I can."

It's your music, and it's your life. Get everything out if it that you can, and don't waste your opportunities! If nothing else, give yourself the best chance you can. It's up to you.



Happy practicing!

*Because of how my body functions, I absolutely have to spend some time stretching everyday. If I do, I become more flexible. If I don't, I get less flexible, and thus, more prone to injury. There are examples of this concept all over the place, so why do we think it would be any different with music skills?

Like it or not, you ARE a business

For the best financial advice on the planet, click here. And no, I'm not getting anything out of it. I legitimately feel that he speaks financial truth, and that it's valuable information for anyone who is breathing. 

Are you running a business?


The answer, no matter how you slice it, is yes. And if you're in denial, it doesn't mean you actually aren't in business, it just means that your business is being run poorly.

In an earlier post, I mentioned a masterclass I attended with Evelyn Glennie. At one point the discussion turned to the matter of running her tour schedule and finances. With her was an assistant who handled a large portion of those duties. Everyone thought she was joking when she finally said that if she had it to do all over again, she'd get a business degree and minor in music!

But she was very serious.

No, I'm not suggesting that you give up your aspirations of majoring in music (nor was she), but it's a lesson well taken that you need to be able to run your career and life in a profitable, organized manner in order to achieve meaningful success.

Courtesy of Dave Ramsey, here's the question: If you viewed your life like a business, and you hired you to manage things, would you fire yourself? What are your goals? Are you accomplishing them? Why or why not? How do you know?

If you haven't ever asked yourself these questions, take some time when you can think about it thoroughly, discuss it with a friend/parent/spouse/etc. and write down the answers. It may surprise you to find out that you aren't as focused or efficient as you think.

And before we talk specifically about money, I want to clarify my position. I believe, no - I know - that life is not about money. Life is about making a difference, being happy, having great relationships, caring about people, family, spirituality, and enjoying the precious time that you have here. Life is about making music, for crying out loud! 

But while money can't buy any of those things, and it certainly can't buy happiness, it can provide you with a certain amount of security and freedom of choice. For example, imagine that you get called for the gig of your life, but it requires a certain dress code, or drum finish, or whatever - and you're broke! If you can't come up with the money, you must turn down the gig. And that leads to making less money, and so on.

Having a little cash also means greater choice in how you live - what kind of house, car, clothes, food and DRUMS you can afford to use.

So, life's not about money, but you need some. Clear? Okay....

Allow me to offer a few simple (but not easy) suggestions that should make your music and drumming career pay off for both your soul and your pocketbook.

1. Give some of your money away. Many religions advocate giving a tithe, or tenth, of your income away. Pick your church or a worthy charity, and give them some of your hard-earned dough. Even if you're an atheist, trust me on this one. The universe will give you back more than you've given away.
2. After giving, pay yourself first. Some of your money should go in the bank - or even better, a retirement fund - and not come out until you're ready to retire. I know, I know - musicians don't retire. But at some point, you're going to want to have the choice whether to work or not, and you can only do that by having a decent sized nest egg stored away.
3. Let your music pay for your music. If I had a dollar for every time I've given this piece of advice, I'd have......probably about fifty bucks. (Hey, it'd be better than no bucks!) Take a percentage (I take about 15%) of the pay from every gig you play and every lesson you teach - anything music related that earns a little money - and save it for music related purchases. Want a new drum kit? Fine. Need cymbals, a snare drum, or even sticks or heads? New mics, cases or bags? Great! Pay for them by saving up money from gigs, lessons, lectures, clinics, etc. and pay in cash.

Sorry if this feels like a lecture, but I'm getting tired of seeing musicians who give their souls for the art and live in rags, ratholes and relative squalor. Even if you don't make a lot, you owe it to yourself to make your future as bright as it can be. 

Make a difference, make some money, and make it count!

Gear Up: Getting the most bang, boom and crash for your buck!

Part 1 of 2.

When was the last time you made a significant purchase for your rig? I mean a purchase of at least $100 dollars. I know that for some of you $100 isn’t very much, but for me that’s a major purchase!

Today we’re going to take a look at how to keep your expenses down while you keep up your kit.

Have cash in hand.

This is good advice for buying virtually anything, but it’s especially important if you want to get a good deal on a major purchase. Put simply, money talks. Whether you’re buying new or used, make sure you actually have the ability to make the purchase before you start trying to make a deal. 

Cash also has a sort of magic to it when you’re bargaining, even in a retail establishment. You may find that you can get a better deal when the seller knows that you can pay now and that you’re prepared to walk away if it isn’t a good deal for both parties. (For more about saving and managing money, visit Dave Ramsey’s web page.)

For those of us who are fortunate enough to be making a few dollars playing music, I recommend that you set aside a certain amount (at least 15%) from each gig that will only be used on instruments or related equipment and supplies. If you’re consistent and committed to this, it shouldn’t take long before you’ll have a tidy little pile of cash so that you can make careful, relevant purchases when you need to.

A nice side benefit of having a little cash on hand is that you can take care of an emergency without having to forego paying the light bill. Just last fall I had a microphone die (my Beta 52, so it’s not like I could just go without), and I had the cash on hand to replace it with no hassle. I’ll have to put off that new snare drum for a little longer, but my mic dying could have also been a financial problem. It wasn’t.

Be realistic about your needs and priorities.

Unless you’re Terry Bozzio, you probably don’t need 24 chromatically tuned toms or 44 relative-pitch cymbals - and don’t even think about the gongs, my friends. You may have a dream kit on your mind, but you need to focus on the things that will have the most positive impact on you, your playing and your career right now. 

That being said, I have a long wish list, too, and a lot of it is totally unrelated to what I actually need. But at the top of my list are the things that will improve my sound, make me more versatile (and marketable), and will help me expand where, how often and with whom I’ll be able to play. 

So, while you may really want that shiny new quadruple bass drum pedal with matching soda dispenser, it may be more important to get a solid ride cymbal, hi-hat stand or snare drum. Establish your priorities, and always get the most important things first. 

Know the numbers.

I worked in a retail music store for several years. I was amazed by people who had (or have) absolutely no clue about price. This was especially true of younger players, beginners and their parents. What is the internet for if not for finding prices and values? Can you say “eBay?” 

As with saving up money in advance, you need to know what you can expect to pay for something so that you’ll know a good deal when you see one. It also helps to know the MSRP (manufacturer’s suggested retail price - you should NEVER pay this amount for anything!), the MAP (minimum advertised price, although not all brands/items have one), and the street price (average that you’ll pay for it new). 

If you’re buying used, even if something’s in perfect condition, you should never pay more than about 80% of the new street price. The only exception to this rule is if you can be sure that the warranty is still in effect and you get the original packaging and purchase receipt so that you can get help if you have a problem. Also, some manufacturers will only warranty the product to the original purchaser, meaning that the warranty is voided as soon as you buy it from a private individual.


More next week!