Mix it up

When anyone asks me what I do I tell them that I play and teach classical guitar.  And yet this doesn’t really describe all of my activities.  I’ve discussed the need to diversify stylistically in order to make a living as a musician, and this is a concept that I take very seriously.  For example, this past Saturday I gave a concert with the North American Choro Ensemble, which is certainly not classical guitar.  In fact, even in the choro ensemble we have recognized the importance of mixing things up a bit, and our concert included some sambas and bossa novas.  When playing choros, I try to improvise short licks and runs when repeating verses, and on the sambas and bossas the members of the ensemble go for straight ahead jazz improvisation.  This keeps things interesting for the audience, which is vital if one wishes to perform regularly, and it also keeps it interesting for me.  There is the added benefit that all of these musical activities contribute to making me a better musician, something I strive to do every day.

On Sunday I played in a concert that was billed as “Geert D’Hollander and Friends”.  So I was one of Geert’s “friends” for the evening (and hopefully his friend for life),  This was a classical concert, with Geert playing several solo works on the piano (Chopin, Brahms, Faure, and Scriabin) and me playing solo guitar pieces by Miguel Llobet, Heitor Villa-Lobos, Augustín Barrios, and me.  The setting was a large living room at an historic mansion on the grounds of Bok Tower Gardens.

Which brings me to another subject: diversification of venue.  What is a concert space?  Easy! A concert space is any location in which you decide to give a concert.  Sunday it was a mansion, Saturday a church.  A couple of months ago I performed in what can best be described as a night club.  Downtown Lakeland, FL is home to a venue called Preservation Hall, which is a restaurant/bar/performance space, etc.  There have been rock bands there, burlesque, and now, classical guitar!  And that concert was, indeed, traditional classical guitar.  It was my release party for my new CD, “Lo Mestre, The Music of Miguel Llobet”. (Available for purchase below.)

lomestre orange_buynow

Interestingly enough, I must have driven this point home to my son quite well.  He exemplifies diverse artistic expressions as a way of both making a living and growing artistically (and he seems to be having fun, which is equally important).  Classically trained on violin, guitar, and piano (and also trained on jazz saxophone) he produced my Llobet recording.  But what really makes this surprising is that he makes a good portion of his livelihood playing lead guitar with a heavy metal band, plays slide guitar and mandolin with a bluegrass/country band, and owns a recording studio!  Now that’s what I call mixing it up!

Crazy Busy: How to make a living as a musician

In 1980 I was working on my master’s degree at Brooklyn College, where I studied with David Starobin.  David was teaching from his apartment in Brooklyn and was also traveling to Purchase, NY to teach at the state university there.  That’s about an hour drive.  As I recall, he would also take weekly trips to teach at the University of North Carolina School of the Arts.  All this plus performing and recording!  So one day I commented to him that I was amazed by his insane schedule.  David’s response was, “If you want to make a living as a musician you have to be willing to work very hard.”

I’ve taken David’s words very seriously, and have almost never turned down work, irregardless of how busy I think I am.  I’ve already blogged about my practice/teaching schedule (June 17 – Daily Schedule), but this didn’t address some of the newer developments that have occurred.  First of all, this year I find that my schedule of teaching at Southeastern University (my other teaching job after I finish a full day of teaching classical guitar at Harrison School for the Arts) has picked up tremendously.  This year I have a dozen private students at SEU and I direct the guitar ensemble.  In addition I have several private students that I see in my home studio.

This is great for my economic security, but what about my artist’s soul?  Well, that side of my life isn’t too shabby lately and is showing signs of increased growth.  Which, of course, makes me busier!  In my July 9 post, Back in the Saddle Again, and more extensively in my  July 15 post, Back in the Saddle Again Follow Up, I talked about playing in churches.  Well, I’ve begun to play in a church in my home city of Lakeland, FL twice every month.  While it’s far from a full concert, I still have to practice a few pieces for these performances, which, although it doesn’t increase my practice time, keeps me on my toes.  And I don’t want to play the same pieces in a short span of time, so I’m a little more serious than usual about learning new repertoire, which is something that I usually do during the summer.  (This doesn’t mean that I don’t normally learn new repertoire the rest of the year, only that I’m not as aggressive about it as during the summer.)  I’ve also given a few performances and have more booked in the near future.  With my new recording, Lo Mestre, The Music of MIguel Llobet about to be released (February) I am keeping that extraordinarily difficult repertoire in shape in anticipation of several performances in order to promote it.   And I’m still playing choros (see my May 22 post, Choros) and I’ve begun to write some of the arrangements of these pieces, something that Dave Miller used to do.

This week has been particularly busy.  I played in church Sunday. Then, on Monday recorded an interview with Jack Price (of Price Rubin and Partners, an artist management company that will be representing me in the near future).  The company has a web radio site, PRP Radio One which does a daily artist interview.  Some of the interviews are with A list artists that they represent (Pepe Romero, Angel Romero, Lalo Schifrin, Scholomo Mintz, etc.) and others are more in my league professionally.  Tuesday I spent the evening producing a pre-production recording session for a student of mine who is getting ready to record his first classical guitar CD.  Wednesday I actually had nothing after 8:00 PM, so I managed to have a nice quiet romantic dinner (complete with roaring fire pit) with my wife.  It is very important for busy people to make time for their loved ones! Then, Thursday I played for a Chamber of Commerce event, raced from Winter Haven FL back to Lakeland FL, and played a couple of pieces in a concert program.  Next week I have concerts on Monday and Friday, and will probably be playing a wedding on Friday as well.  And since this week I had no time to rehearse with the North American Choro Ensemble we will be doubling up our rehearsals next week.

OK, so you are probably out of breath just reading my schedule.  And you may be asking yourself, “How on earth does he do it?”  A few things.  First, I love, I mean really love everything that I am doing.  I’m working in my bliss! This makes it feel more like play.  Imagine being able to just play games for 16 hours a day!  So although the work is tiring, it isn’t draining.  It is actually invigorating.  Also, I take pretty good care of myself physically, so I have a great deal of stamina, and I’ve been blessed with the ability to function well on less sleep than most other people.  (Yes, I know that we all, even I, function best on 8 hours of sleep every night.)

I’d like to close with another story that has influenced how I live and work.  Or maybe it’s more of a parable, except that it is actually true.  In 1982, preparing for the 90th birthday of Andrés Segovia, NPR sent a small crew of young men to Spain to record interviews with him.  These interviews would be aired the following year in a radio mini-series on the maestro.  Segovia rose early every morning, practiced guitar, ate, practiced some more, rested, walked, practiced, and generally dined late or held court with colleagues or went to concerts.  This was his daily routine.  The young men from NPR found that they were unable to keep up with this 89 year old human whirlwind.  Finally, one of the crew asked, “Maestro, don’t you ever rest?”  He responded, “I’ll have eternity to rest.” And to that I say, “Amen!”

Diversifying for a career

Because of my teaching positions I often deal with students and/or parents of students who are concerned about the economic viability of a career in music.  This is a legitimate concern in any field, but music perhaps more than others.  Compounding the dilemma for the students/parents is the fact that the most obvious models for a career are millionaire superstars who appear to have won some sort of life-lottery.  What are the odds that any particular young player will become the next big thing?

The truth is that the chances are pretty slim, and if your goal is to be a rock star, be prepared to be disappointed.  The odds are stacked against you, and if you are among the very lucky very few, you will likely find the career disheartening.  Does this mean you shouldn’t even try? Definitely not! You probably won’t succeed, but if you don’t try you definitely won’t succeed. And you’ll need to try as if your entire life depends on it.  BUT, if you are like most people, and do not become the next Adele, or if you are a guitarist, the next Pepe Romero, don’t feel as if your life is over.  The key thing here is to have a practical back up plan.  This doesn’t mean that you have to study computer engineering or accounting, “just in case”.  What it does mean is that you’ve looked at the variety of things that a professional musician does to survive, and you’ve learned how to do them and have reconciled yourself with becoming just another musician who teaches or does whatever.

Wait a minute! Did I say “just another musician who teaches?”  There is no more noble nor rewarding an undertaking than passing your knowledge on to the next generation, so really, should teaching be your mode of earning a living you should consider it a privilege. It may not be as much fun as performing, but it is deeply gratifying, and as stable as any job can be nowadays. And if you just don’t see yourself teaching, you could look into entertainment law, music management, recording arts, media composition (writing music for video games, advertising, TV, movies, etc.) or music therapy.

OK, so what if you are like me, and as much as you can reconcile yourself with a career that doesn’t involve millions of adoring fans you still feel that you must perform.  The answer here is that you must diversify your skillset.

What got me started on this train of thought was my practice last night.  After spending an hour or so practicing a contemporary classical piece that I’m learning (Fantasia by Troy Gifford) I went on to practice some choros that I’m working on with a guitar trio. The choro is an urban popular form from Brazil, similar in some ways to U.S. ragtime music.  The group is putting together a few sets of this music with the intention of performing.  This isn’t the kind of music I’m really known for, nor is it what I originally set out to do when I became a professional guitarist, but it’s one more skill that helps me stay active as a player, and I’d have to say that I’m really having fun doing it.

Over the years I’ve sat in on jazz gigs, played in the pit for numerous regional productions of Broadway musicals, and accompanied singers. In fact, I just accompanied my daughter last week. She sings with a local burlesque company, and she asked me to help out by playing guitar on a song by Dave Matthews.  And about a month or two ago, I contributed a rather Mexican sounding guitar solo to a country song – The Ballad of Pancho and Lefty –  being recorded by a band from south Florida, The Mobile Homies. (BTW, this is one of my son’s bands.  And he is primarily a heavy metal guitarist.  We are a musical family!)

The key here is that the more you can do as a player the more opportunities you will have to play.