October 2011

 I am a huge fan of ensembles.  The elementary school that I went to offered a strings class to 5th and 6th graders.  I was excited to play the violin and then the cello.  My favorite part of the entire class, though, was getting to work towards a common goal with my classmates.  I love being around people.  I'm an extrovert.

As I progressed in my musical studies, a lot of the repertoire that I was learning included Bach's Unaccompanied Cello Suites.  This was not as much fun for me.  Yes, I know that I learned valuable techniques and skills, however, it was lonely.  No one to play off of or interact with because I was by myself.  Hours in a practice room, by myself.  Sitting on a stage during recitals...BY MYSELF!   Still, I made it through the suites with my sanity in tact (my college roommates might debate this).  The one thing I think that aided my study of Bach, was my involvement in musical ensembles large and small.

Being involved in a musical ensemble is "built-in" for many beginners.  Many still start in a classroom setting through a school music program or teacher's studio.  It's a great way to start.  Not only does it fill any need for human connection and camaraderie, but it builds listening skills and intonation, as well as rhythm and playing together.  For some, they are able to continue in a group setting in a middle or high school orchestra.  Yet, how can a student be involved in an ensemble if there are no school programs?

Here are some options:

Duets and Trios (2 and 3 players)-There is a lot of music out there written for two or three, so practically any skill level, beginner to advanced, can participate.  Playing a duet is a simple as asking a friend or family member to play together.  Your young musician can even ask their teachers if they can play with another student in their studio.  Often times, teachers are pleased to play with students too. *Free Participation*

Quartet (4 players)-The traditional string quartet consists of 2 violins, 1 viola, and 1 cello.  Like Duets and Trios, there is a lot of music available but, this exact combination of musicians can be trickier to find.  It can take some time to get everyone together.  You may have to start playing as a duet or trio and add people as you meet them. *Free Participation*

Church/Synagogue Groups-These groups usually perform once a week and are usually open to any musician.  Playing in this setting can yield combinations of instruments that you won't find anywhere else and the live performances keep your "chops up."  If you aren't "religious," don't worry, many groups don't require that, they just want you to play.  *Free Participation*

Community Orchestra-Community Orchestras are much larger that any of the other groups I've mentioned.  They are often a full orchestra of strings, wind, brass, and percussion.  They are great because they can provide the chance for a young musician to play with other musicians that are much more experienced.  Plus, they have a will get play more challenging music in the modern orchestra repertoire.  While most members will be adults, many community groups are open to proficient students although an audition may be required.  Also, a lot of community groups hold "Young Artists" competitions for talented young musicians to perform a solo with a full orchestra. *Free Participation*

Youth Orchestras-Dot Rust posted a blog about this in February.  It's worth the read.  She describes how they began in the U.S. and how your student can be involved.  The only thing that is different from the previous groups is that there is tuition involved.  Many groups offer tuition breaks or scholarships for any needy student. *Cost to Participate*

Jazz Band/Combo-We all know Bass players are in jazz bands, but violins, violas, and cellos?  Say it with me: Yes we can!  See Stephane Grapelli, Lucio Amanti, and Judith Insell for some great examples.  Your student may want to learn jazz scales and basic improvisation techniques before jumping in, but it's so worth it.  Even if they don't become the Dizzy Gillespie on the viola, playing jazz opens up a whole new world of tonality that will be helpful if they ever dive into some Bernstein or Ives. *Maybe Cost*

Bluegrass Band-Your young musician may want to trade their violin in for a fiddle. Side Note: violin=fiddle.  Bluegrass bands are welcoming to all ages and levels and there are competitions in every region that can offer cash prizes to winners.  Bluegrass bands often play by ear and by rote instead of reading of sheet music, so this is a great chance for your student to practice memorization. *Buy lots of Rosin*

Indie Rock Band:  If you haven't noticed, strings are the new "it" instrument for rock bands.  See Yellowcard and any of Coldplay's latest stuff.  To successfully communicate with guitar players, your student will have to learn to read chord charts.  This isn't too hard if they already know how to read music.  Participating in a setting like this could also be an opportunity to write and create music of their own.  The cost is determined by how determined the band is.  If the band ever records or performs live, it would be a good idea for your student to invest in an electronicpick-up and maybe an effects pedal.  *Cost: Whatever it takes, baby!*

Marching Band-Alright, I'll admit.  I don't know of any marching string orchestras.  I'm just putting up here hoping someone out there might actually do it.  The technology exists now to make it happen (carbon fiber instruments + wireless pick-ups hooked up to a stadium sound system!)...but it would be expensive.  Okay, for this one, your student would have the be the relative of an eccentric millionaire that is about to die. *Cost: Priceless*

Really, the sky is the limit when it comes to having your young musician participate in an ensemble.  There are numerous possibilities and numerous benefits.  Plus, many options are free of charge.  Helpful hint: if you need to provide sheet music for the group your student is playing in, check out the International Music Library Score Project.  They provide copies of free sheet music for ensembles of many sizes.

It takes a long time to establish your reputation as a musician and performer in a new town. After living in Utah for six years, I felt so well connected to a great number of musical organizations, schools, teachers, orchestras, recording studios, and the like. I enjoyed playing regular gigs, teaching a steady number of bass students, and growing strong relationships with musicians and performing groups throughout the state . . .

. . . and then I moved.

My husband’s work brought us to Oregon, which meant starting from scratch as a stranger hoping to freelance a new music community. So the first thing I did in the months leading up to and following my move to the Portland area was contact absolutely every musical organization I could find. I made phone calls, sent e-mails with my performance resume attached, and inquired about upcoming auditions. During the summer before the move, I took extra lessons, practiced 20 hours a week, and performed a recital in preparation for auditions I hoped to take once arriving in Oregon.

The day after we pulled our moving truck into town I abandoned our unpacking efforts to attend a masterclass sponsored by thePortland Youth Philharmonic featuring Erik Harris, principal bassist of the St. Louis Symphony. Sure, I was a college grad, so what was I doing hanging out with the youth symphony members? I was also looking for connections.  As with most professions, the fastest way to find work is through effective networking and personal referrals. So my goal? Get connected!

Let me tell you, it doesn’t take much but confidence. You know you’re a good player, so put yourself out there! And if you don’t feel like a good enough player to get those gigs, try The Art of Effective Practicing. It takes a lot of work to be a marketable performer, but you can do it!

Here are a few ways to get connected with your local music community:

• Keep your chops up by performing regularly. Put on a house concert. Keep practicing. Find an open-mic night at a local venue to sing, fiddle, or do whatever you do. Play at your church or synagogue. Busk at the local farmers markets. There are endless opportunities to perform, and you can create those opportunities yourself.  Don’t wait for someone else to do what you can do on your own. You’d be surprised by how many restaurants, café’s, bookstores, and boutiques there are that would be so happy to have your live music in their space.

• Don’t demand paying gigs right away or all the time. Be generous in sharing your talents with others! You can do this while still maintaining your stance as a professional. Playing for free allows you to enjoy the opportunity to meet other musicians without stressing about money and union talk. You’ll be surprised how many connections you’ll make that can lead to future gigs. And come on, we all know the economy is tight, and if all musicians refused to play without pay our artistic community and musical culture would suffer tremendously.

• Participate in your local community orchestras! You don’t have to wait to win an audition with a semi-professional or professional orchestra to play the great orchestral works. Community orchestras are excellent for meeting teachers, performers, and conductors who can hook you up for future work—and they’re just plain fun. You can relax and play great music with a smile on your face. Sometimes when money is in the mix, musicians can become surly, bitter, or demanding individuals, losing sight of why they chose music as a career in the first place. Don’t let that happen to you. Don’t let the joy of playing be belittled by your pride or hunger for pay.

• Connect with local schools. I decided to call and e-mail local orchestra teachers offering to conduct a free masterclass for their bass sections. It turned into a very fruitful experience. Give it a try! And who knows, maybe they’ll even ask you to come back. Regardless, reaching out to the youth in school and community music programs is a great way to make a name for yourself as a teacher. Be sure to get your name on the list of private teachers the orchestra directors provide for their students, and remember you can receive 10% off with your teacher discountthrough Kennedy Violins!

• Don’t just teach lessons—take lessons. Even the most experienced professional musicians can benefit from taking lessons into their old age. Musicians can always benefit from the perspective of another performer with fresh ideas, techniques, and style.

It might be challenging to find the gig of your dreams. But don’t wait miserably for a Golden Ticket while throwing away the chance to enjoy that delicious Wonka Bar right in front of you. There is music to be played, players to meet, and stages on which to perform. So have at it! Make a connection! And keep us posted along the way.